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近年来,随着地球生态环境问题的日益严重,生态学更加受人关注。本世纪初,人们即开始把生态学的观念运用到中国画学研究领域中,渗入中国画与民族、文化、政治、经济各个方面的联系,以及中国画自身体系要素之关系,中国画的生态问题日益引起大家关注。面对中国画领域的纷繁复杂和多样性,若以“生态”的观念去审视之,可包括两个方面:一方面,中国画是生态性的存在;另一方面,中国画包括内生态、外生态两大生态系统,也就是中国画自身系统秩序以及中国画与环境互为作用的关系。目前,这两个生态都存在问题,其中最为突出的是“四绝”生态的流失以及写意精神的流失。
In recent years, with the increasingly serious problems of the earth’s ecological environment, ecology has drawn more attention. At the beginning of this century, people started to apply the concept of ecology to the field of Chinese painting research and infiltrated the relationship between Chinese painting and all aspects of ethnic, cultural, political and economic aspects as well as the elements of Chinese painting itself. The ecological problems of Chinese painting are increasingly aroused everybody attention. In the face of the complexity and diversity in the field of Chinese painting, if we look at the concept of “ecology”, we can include two aspects: on the one hand, Chinese painting is ecological; on the other hand, Two ecological system, that is, the Chinese system of their own order and the interaction between Chinese painting and the environment. At present, there are problems between the two ecologies, most notably the loss of the “four virtues” and the loss of freehand spirit.