论文部分内容阅读
今天,我们对中国传统美术的探讨大致包涵两条取向:一是对古代美术现象及其理论描述进行溯源性研究,尽量还原其生成、演变的历史面目,此即“正本清源”的研究;二是在前者的基础上,将我们对美术史的一些规律性认识同当今的美术状况联系起来,尽量挖掘并申发其当代价值与意义,此为“古为今用”的研究。两者的有机结合及充分发展当为中国传统美术现代转型之要津。在实际的研究状况中,我们又常常过于强调“古为今用”的取向,有时会把一些历史现象甚至是一句老话从它的“原生态”中剥离出来,以证明我们今天某种意图的“历史必然性”,这种“实用主义”的研究难免会曲解历史。被曲解的历史也无法用来校准当代的目标。本期刊发的刘星《论顾恺之的绘画思想为非“以形写神”论》一文,便力图将“以形写神”这句老话放进它原初的生长环境中,分析其本来意图,以纠正一些人将它当作“中国画论中最早的写实主义宣言”的错误认识。
Today, our exploration of Chinese traditional art embodies two orientations: one is to trace the originality of the ancient art phenomenon and its theoretical description, try to restore the historical face of its generation and evolution, which is the study of “original source”; secondly, On the basis of the former, we associate some of the regularities of the history of fine art with the current state of art and try to find out and apply its contemporary values and significance. This is the study of “ancient to modern use.” The organic combination and full development of the two are essential for the modern transformation of traditional Chinese fine arts. In the actual research situation, we often overemphasize the orientation of “using the past as the present and using the past as the present,” and sometimes we can peel off some historical phenomena or even an old saying from its “original ecology” to prove the historical inevitability of some of our intentions today “This kind of” pragmatism “will inevitably distort history. Misinterpreted history can not be used to calibrate contemporary goals. This issue of Liu Xing, ”On Gu Kaizhi’s Painting Thoughts“, is a text describing the ”theory of God,“ trying to put the old saying of ”writing God“ into its original environment of growth and analyzing its original intention So as to correct some people’s misunderstanding of it as ”the earliest realistic declaration in Chinese painting theory."