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关于对中国画与油画的认知度与喜好率的问题,有人曾做过社会调查,采访社会各阶层的很多年轻人,结果表明:百分之八十的人喜欢油画,百分之二十的人喜欢国画。这说明现阶段中国画已存在审美危机,这种危机并不说明画种的优劣,而是一个很复杂的深层问题,我们暂不在这里展开议论,但我们的确要关注的是当代中国画的面貌。我想中国画的面貌是分两个层面的,一是精神面貌,一是形态面貌。精神面貌依托于形而上的意象美学结构和艺术家的学养修为,这决定了中国画的文化特性;形态面貌则是精神面貌的载体,它包含的是图式、笔墨结构、语言表达与媒材择用。我们所担心的并非中国画面貌的构造,而是中国画面貌的变化从
Regarding the awareness and preferences of Chinese painting and oil painting, some people have conducted social surveys and interviewed many young people from all walks of life. It shows that 80% of the people like oil painting, 20% People like Chinese painting. This shows that there is already an aesthetic crisis in Chinese painting at this stage. The crisis does not explain the pros and cons of painting but rather a very complex and deep-seated problem. We will not start an argument here, but what we really want to pay attention to is the appearance of contemporary Chinese painting. I think the face of Chinese painting is divided into two levels, one is the mental outlook, one is the appearance of the form. The mental outlook relies on the metaphysical imagery aesthetics structure and the artist’s cultivation and cultivation, which determines the cultural characteristics of Chinese painting. The morphological appearance is the carrier of spiritual appearance, which includes the schemata, the structure of brush and ink, the expression of language and the choice of media . What we are worried about is not the structure of the Chinese painting but the change of the appearance of the Chinese painting