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研究中国画不研究“文人画”是不行的,研究“文人画”不从中华艺术特有的精神实质出发,亦无异于缘木求鱼。近世学者,多有以“水墨”、“彩墨”等材质称谓来定义中国画的趋向,名之曰“向世界潮流靠近”而“增进理解”,这实则是一种对绘画认识上的倒退,是一种舍本逐末的屈从。一般来讲,当艺术门类更趋向于“物化”之倾向时,其分类则偏重于以“物”而“划”之。如《考工记》中各类分法即如此;当艺术门类趋向于“人化”之倾向时,其分类则转向以“人”之居址、手法、风格等特征而“划”之
It is impossible to study Chinese painting without studying “scholarly paintings.” Studying “scholarly paintings” does not proceed from the essence of the essence of Chinese art, nor is it the same as seeking truth from facts. In recent years, many scholars have defined the tendency of Chinese painting with such material appellations as “ink and wash ink” and “color ink”. The name of the painting is “approaching the world trend” and “promoting understanding”. This is actually a retrogression of understanding of painting, It is a subservient submission. Generally speaking, when art genres tend to be more “materialized”, their classification is more emphasis on “materialization” and “planning.” Such as “Kao Gong Ji” in all kinds of sub-law that is the case; when art categories tend to “human” tendency, the classification turned to “people” of the site, practices, style and other features “plan”