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中国画经过八五思潮后近20年的洗礼,正处于一个从外在形式创新到内在精神提升的关键时期。而对文化的关注和追问成就着这种提升,使这种提升不断地从技巧的层面超越到精神的层面。最近在中国画研究院举办的中国花鸟画九人探索交流展作为一种现象,使我们对传统意义上的中国画创新更有信心,同时对中国画向文化和精神层面推进的决心也更加坚定。一、精神的内在超越是中国画的本质超越艺术的本质在于对精神的表现和张扬。正是艺术这种最具存在意义的生命表现形式,才使人类的意志和人的本质力量在人性的极限和认知的极限得到最大限度和最深刻的表现。所以说,中国画从来就不是一个笔墨问题,而是一个对本体精神、民族精神和人类精神进行内在体认并进行不断超越和独特生发的问题。能够自觉地表现本体精神,这是中国画的第一种境界;
After nearly eight decades of baptism in the Eighth Five-Year Plan, Chinese painting is at a crucial stage of innovation from external forms to internal spiritual ascension. However, the concern and questioning of culture has contributed to this improvement, so that this promotion continues to be transcended from the technical level to the spiritual level. Recently, nine Chinese birds and flower paintings exhibitions held at the Chinese Painting Research Institute explored the exchange exhibition as a phenomenon that gave us more confidence in the traditional Chinese painting innovation and strengthened our determination to promote the cultural and spiritual aspects of the Chinese painting. First, the spiritual inner transcendence is the essence of Chinese painting beyond the essence of art lies in the performance and publicity of the spirit. It is precisely this form of life, the most meaningful existence of art, that maximizes and deepens the limits of human nature and of the human cognitive forces to the will and human essence of human beings. Therefore, Chinese painting has never been a pen and ink problem, but a question of intrinsic recognition of the ontological, national and human spirits and its continual transcendence and uniqueness. Being able to consciously represent the spirit of ontology is the first realm of Chinese painting.