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20世纪末,中国社会由传统向现代转型,艺术界也由传统眼光转换为世界眼光,从而引起了水墨艺术界长达近20年没有停息的“笔墨之争”,其中三种观点成为争论的焦点,即:“中国画已经走向穷途末路”,“笔墨等于零”和“守住中国画的底线”。“穷途末路”说是以西方现代文明的观点,来思量中国画的前途和命运所发出的最为偏激而低调的呻吟。“笔墨等于零”说是以西方现代艺术观对我国笔墨的传统价值予以新的思考,虽然怀有对艺术的真诚,但却失去了历史的真实。“守住底线”说和保护主义联系在一起,多少表现出保守固执的成分。这种被动守成、封闭排外的态度是不利于艺术自身发展的。若以文明多极论的世界眼光看水墨,审视传统中国画、现代水墨画,以及笔墨问题,研究的视野会越来越宽。
At the end of the 20th century, the Chinese society was transformed from tradition to modern times. The art world was transformed from the traditional one to the world one. This caused the “ink-and-ink controversy” that the ink art circles have not stopped for nearly 20 years. Three of them have become the focus of controversy , Namely: “Chinese painting has come to a dead end”, “Pen and ink equal to zero” and “hold the bottom line of Chinese painting.” The “end of dead track” is based on the viewpoints of modern western civilization to consider the most extreme and low-profile moaning of the future and destiny of Chinese painting. “Pen and Ink Equal to Zero” is a new reflection of the traditional value of Chinese ink and calligraphy from the perspective of Western modern art. Although it holds true to art, it has lost the truth of history. “Hold the Bottom Line” is said to be associated with protectionism, showing how much it is conservative and stubborn. This passive defending and closing-up attitude is not conducive to the development of art itself. If we look at the ink and wash with the world view of civilization and multipolarity, and examine the problems of traditional Chinese painting, modern ink painting, and ink and brush, the field of vision will be wider and wider.