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20世纪以来,如何看待传统的问题曾有过多次争论,对继承传统这个大命题已没有异议,问题是继承什么和如何继承。 元明清而下,绘画艺术观念倾向于“写意”,技法日趋程式化,至吴昌硕、齐白石而造极,水墨画的样式被确定在一个固定的空间里,原本进步的、充满生命力的形式进入守成阶段。这是由六朝的“气韵论”至唐代的“心源论’发展而来的一个非常成熟的艺术系统,是一高峰。在这个高峰之下,如果不解决认识论的问题,一切技法探索和前人相比都是小气的。
Since the 20th century, there have been many debates on how to treat the traditional issue. There is no objection to the grand issue of inheriting the tradition. The question is what to inherit and how to inherit it. Yuan Ming and Qing Dynasties, the concept of painting tend to “freehand”, the technique is becoming more and more stylized, to Wu Changshuo, Qi Baishi and made extremely, the style of ink painting was determined in a fixed space, the original progressive and full of vitality into the guard stage. This is a very mature art system developed from the “charm theory” in the Six Dynasties to the “source theory” in the Tang Dynasty, and it is a peak. Under this peak, if all the epistemological problems are not solved, Compared to the previous are stingy.