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在一个以创新为第一要务,以反叛为首要原则的时代坠,一个经过严格传统训练的艺术家所要面对的问题是:艺术传统在今天具有怎样的命运?它是否还能够作为当代艺术创作的丰厚土壤?它能否为创作提供新的推动力?对唐勇力来说,这些问题具有十分独特的涵义。明清以降,文人画理论大行于世,重水墨,轻彩绘,尚写意,抑工谨的观念蔚然成风。以致于富有文人气质的水墨写意仿佛成为“中国画”这一称谓下的理所当然的对应物。近代以来,当中国画面临西方
In a time when innovation as the first priority and rebelism as the first principle falls into the hands of a highly trained artist, the question to be faced is: what is the fate of the artistic tradition today and whether it can be created as a contemporary art Rich soil? Whether it can provide a new impetus to creation? For Tang Yongli, these issues have a very unique meaning. In the Ming and Qing dynasties, literary theory of painting was popular in the world, heavy ink painting, light painted, still writing meaning, suppression of work-like concept of a common practice. So rich in literati ink and wash as if to become “Chinese painting” under the title of the natural counterpart. In modern times, when the Chinese painting is facing the west