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现代中国画创作既要立足传统,显现民族性,又要跟上时代,具有现代性。玉立的论文认为,如果我们能超越这两个极端的对立,寻找现代性与民族性的融合点,也许能为中国画创作找到最佳出路。现代性与民族性既是对立的,又是互相联系的,这是寻找二者融合的根本前提。艺术上的“现代性”不是单指西方现代艺术,它是世界各区域人民的现代生活、现代精神以及与此相适应的现代艺术结构语言的综合体现;艺术上的“民族性”,并非单指民族艺术固有的结构语言,而是民族精神、民族审美习俗以及与此相适应的民族艺术结构语言的综合体现。融合,不单是中西技法的融合,而是包括现代多种因素的融合,特别重要的是要找到使二者像生物学家所说的二物能“嫁接”或“杂交”的某种共性、兼容性,并能消除“排异性”的那个共生点、创新点,否则就会出现“怪胎”。 由于客观和主观的种种原因,要在研究中国现当代画家、画派中坚特实事求是的科学态度和基本原则,实在不是一件容易的事情。王非的((论长安画派》,既论及长安画派的艺术主张,又指出这是一个尚未完善的画派和画派主要成员的自我否定精神,力求作出符合历史本来面貌的论述。阅读此文,有助于加深我们对长安画派的了解和认识,同时在研究方法上似乎也可从中得到某些启发.
Modern Chinese painting should not only base itself on tradition, show nationality, but also keep up with the times and have modernity. Yuli’s thesis holds that if we can go beyond these two extreme antagonisms and look for the fusion of modernity and nationality, we may find the best way out for the creation of Chinese painting. Modernity and nationality are both antagonistic and interrelated, which is the fundamental premise for finding a fusion between the two. The “modernity” in art is not a single reference to Western modern art. It is the embodiment of modern life, modern spirits and the language of modern art that is compatible with the people in all regions of the world. The “nationality” in art is not simply Refers to the inherent structural language of ethnic art, but the national spirit, national aesthetic practices and the corresponding embodiment of the national art language structure. Integration is not only the fusion of Chinese and Western techniques, but includes the integration of many factors in the modern era. It is especially important to find some commonality that enables the two to “graft” or “cross” as the biologists call them. Compatibility, and can eliminate the “disagreement” that symbiotic point, innovation, or there will be “geeks.” Due to various reasons, both objective and subjective, it is not an easy task to study the scientific attitude and basic principles of seeking truth from facts in modern and contemporary Chinese painters and painting schools. Wang Fei’s (On the Chang’an School of Painting) discusses the art of Chang’an School of Art and points out that it is a self-denying spirit of a still not-yet-refined school of painting and painting and strives to make an exposition that is in keeping with the original appearance of history. Reading this article helps to deepen our understanding and understanding of the Chang’an School of Painting. At the same time, it seems that we can also get some inspiration from the research methods.