论文部分内容阅读
一从微信里读到一篇题为《工笔当道,实为中国画的悲哀》的帖子,该文是一篇采访文章,经过整合后分为正、反两方,正方以艺评家朱其、陈传席,国画家庄小尖为代表,认为当今工笔画大受追捧,“实为中国画之不幸”;反方以国画家苏百钧为代表,认为“工笔画当今大行其道是实至名归”。这是关于中国画在审美理路上应该遵循“意写”还是“实写”的讨论。这,是一个长期以来关于中国画如何发展的讨论主题。这,尤其是一个世纪以来关于中国画发展的讨论主题。
An article from WeChat read entitled “Meticulous work, in fact, the sadness of Chinese painting,” the post, the article is an interview article, after the integration is divided into positive and negative sides, the art critic Zhu square, Chen Chuanxi, the Chinese painter Zhuang Xiaodian as the representative, that today’s work is greatly sought after strokes, “is actually the unfortunate Chinese painting ”; the other side to the country painter Su Weijun as the representative, “work strokes popular today is deserved . This is a discussion about whether Chinese painting should follow the ”Italian writing“ or ”real writing" on the aesthetic path. This is a topic for discussion on how to develop Chinese painting for a long time. This, in particular, is the subject of discussion on the development of Chinese painting for a century.