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也许中国文人画家是对其原有专业的认识,特别是诗的艺术语言,使文人画家很容易就触碰到绘画的本质——绘画的语言问题。西方油画从15世纪产生到20世纪以来的五百年历史,其实就是绘画语言的探索史。尤其是近一百年来,表面看起来“反传统”的浪潮几乎使油画这一画种面目全非,实是对绘画语言真谛的层层认识,而产生相应的五花八门的表现。这种现象是油画从希腊的立体那里得到了具象的形式语言,并且根深蒂固。而绘画的形式语言既可以具象,也可以抽象,抑或兼而有之。但任何艺术形式的语言都是抽象的,然而是可感知的,希腊艺术只是抽象的具象表达而已。中国的文人画家,借助诗的语言,透过书法笔法的审美,逐步建立起整套可读性很强的笔墨语言,也就是文人画的本质语言。在本质语言的基础上,借代自然、文学、哲学、宗教、政治等门类的语言,当然也有纯笔墨的表现,这就是现代中国画——现代没骨所要讨论的。
Perhaps the Chinese literati painter is his understanding of the original profession, especially the artistic language of poetry, so that literati painters can easily touch the essence of painting - the language of painting. The five hundred-year history of western oil paintings from the 15th century to the 20th century is actually the exploration history of the painting language. Especially in the last one hundred years, the wave of “anti-tradition” on the surface seems to make the variety of oil painting almost beyond recognition. In fact, it is a profound understanding of the essence of painting language and produces a wide variety of performance. This is the phenomenon that oil painting has acquired a figurative formal language from Greek solidity and is deeply rooted. The formal language of painting can be both abstract, abstract, or both. But any language of art form is abstract, yet perceptible, and Greek art is just an abstract, concrete expression. Chinese literati painters, with the aid of the language of poetry and through the aesthetic appreciation of calligraphy and writing techniques, have gradually established a complete set of highly readable pen-and-ink language, that is, the essential language of literati painting. On the basis of the essential language, it is also a manifestation of pure ink in the language of natural, literary, philosophical, religious and political categories, which is to be discussed in modern Chinese painting - the modern one.