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1986年春,我曾以《中国画传统的再开发》为题向杨陵“中国画传统问题学术讨论会”提交过一篇论文。转眼十年过去了,真可谓弹指一挥间。当年沸沸扬扬的学术争论热潮似乎凉下来了。其实不然,在这十年中画家和评论家们都在不断前进和变化,有新的发展新的收获,因此在实践和认识上,当代中国画去向问题的大讨论实质上仍在推展和深化。在这种背景下,促动我动笔写这篇再论文章的是两个人,一位是日本当代美术评论家河北伦明先生,另一位是我国旅美画家吴毅先生。 先说吴毅先生。1993年10月,吴毅先生来西安举办个展,我得以拜读他携来的专稿《现代中国画展望》;今年元月,又接到他自纽约寄来刚刚杀青的论文《艺术之我思我行》。读后深感这位一贯为中国画的现代发展而孜孜不倦地思索和实践的画家,正在一步步切入当代中国画发展问题的症结核心。他提出的许多见解很有高屋建瓴之势,充满了真知灼见和求实精神,值得大家关注和参与讨论。
In the spring of 1986, I submitted an essay to Yangling’s “Symposium on Traditional Chinese Paintings” with the theme of “Redevelopment of Traditional Chinese Painting”. A blink of an eye ten years later, really flicker. The upsurge of academic controversy in those years seemed to have cooled down. In actual fact, during these ten years, painters and critics are constantly advancing and changing with new developments and new gains. Therefore, in practice and understanding, the debate on the contemporary Chinese painting is still going on and deepening in essence. In this context, I was motivated to write this essay on the discussion of two individuals, one is the Japanese contemporary art critic Hebei Lunming, and the other is our country painter Mr. Wu Yi. First, Mr. Wu Yi said. In October 1993, Mr. Wu Yi held a solo exhibition in Xi’an. I was able to read the magazine’s “Outlook on Modern Chinese Painting” that he brought; in January of this year, I received another essay from New York that he sent me to “ Row”. After reading the book, he deeply felt that this painter who has been thinking and practicing tirelessly for the modern development of Chinese painting is gradually tackling the crux of the problem of contemporary Chinese painting. Many of his ideas are highly developed and full of potential. They are full of insight and pragmatism and deserve our attention and participation in discussions.