论以静物为主体的现代水墨画在当代的发展空间
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摘要
中国绘画语言变革从未有过停顿,进入21世纪后,伴随着改革开放和西方艺术思潮的涌入,中国水墨画呈多种形式发展,反映现代人的精神内涵,表现当下人的感受和社会的生存状况。
本文从绘画主体静物入手,诠释静物的概念,比较传统概念中中西静物的差异性,研究中国近现代水墨静物发展的现状,通过多方位多角度来说明以静物为主体的现代水墨画在多元化的背景下能很好的处理传统与当代的关系,它作为以精神探索为指向的表现型水墨语言,能很好的反映现代人的精神内涵,具有很好的发展空间。但由于现代静物水墨画从产生至今,时间尚短,理论依据和艺术作品都处于摸索和总结的阶段。更需要我们通过对现代静物水墨画的研究,理清目前发展现状,清楚的认识静物水墨画在表现内容和手法上作出的尝试,使我们在纷繁复杂的现象中找寻中国水墨画发展的出路,同时也弥补本时期以静物为主体的水墨画无人研究的空缺,为建构中国现代水墨画的理论体系出一分微薄之力。
Chinese painting of language reforms have never being at a standstill, Since the 20th century, with China's reforming and opening policy and the increasing awareness of learning from the western culture, different western art philosophies entered China. Chinese ink and wash painting appear the various of development. reflecting the modern of spiritual context, showing the feel of the modern and the survival situation on society.
The thesis start with the still life of the drawing main body, explicate the concept of still life, compare the Chinese and Western on the tradition concept of still life difference, Study the present situation on the still life of ink and wash painting from the Chinese modern and the contemporary history , From many bearings and angles come to explain that modern ink and wash painting taking still life as the main body ,can handle tradition and the present relation in the background diversifying very good, it is the phenotype ink and water language taking that the spirit probes as directing, can reflect the modern spiritual context, and have a good space to develop. But since modern ink and wash painting creating,its time is still short so far, the theory basis and artwork are in the stage trying to find out and summing up. Require more that we pass the research to modern ink and wash painting of still life ,manage the development situation completely at present , cognize clearly the still life of ink and wash painting trial making on content and gimmick in behaviour, makes us explore a new way to the development of Chinese ink and wash painting in phenomenon numerous and complicated, at the same time,can make up this vacant position on the ink and wash painting self-service taking still life as the main body studies, contribute a portion meagre that force for constructing the theory system about modern ink and wash painting of Chinese.
本文从绘画主体静物入手,诠释静物的概念,比较传统概念中中西静物的差异性,研究中国近现代水墨静物发展的现状,通过多方位多角度来说明以静物为主体的现代水墨画在多元化的背景下能很好的处理传统与当代的关系,它作为以精神探索为指向的表现型水墨语言,能很好的反映现代人的精神内涵,具有很好的发展空间。但由于现代静物水墨画从产生至今,时间尚短,理论依据和艺术作品都处于摸索和总结的阶段。更需要我们通过对现代静物水墨画的研究,理清目前发展现状,清楚的认识静物水墨画在表现内容和手法上作出的尝试,使我们在纷繁复杂的现象中找寻中国水墨画发展的出路,同时也弥补本时期以静物为主体的水墨画无人研究的空缺,为建构中国现代水墨画的理论体系出一分微薄之力。
Chinese painting of language reforms have never being at a standstill, Since the 20th century, with China's reforming and opening policy and the increasing awareness of learning from the western culture, different western art philosophies entered China. Chinese ink and wash painting appear the various of development. reflecting the modern of spiritual context, showing the feel of the modern and the survival situation on society.
The thesis start with the still life of the drawing main body, explicate the concept of still life, compare the Chinese and Western on the tradition concept of still life difference, Study the present situation on the still life of ink and wash painting from the Chinese modern and the contemporary history , From many bearings and angles come to explain that modern ink and wash painting taking still life as the main body ,can handle tradition and the present relation in the background diversifying very good, it is the phenotype ink and water language taking that the spirit probes as directing, can reflect the modern spiritual context, and have a good space to develop. But since modern ink and wash painting creating,its time is still short so far, the theory basis and artwork are in the stage trying to find out and summing up. Require more that we pass the research to modern ink and wash painting of still life ,manage the development situation completely at present , cognize clearly the still life of ink and wash painting trial making on content and gimmick in behaviour, makes us explore a new way to the development of Chinese ink and wash painting in phenomenon numerous and complicated, at the same time,can make up this vacant position on the ink and wash painting self-service taking still life as the main body studies, contribute a portion meagre that force for constructing the theory system about modern ink and wash painting of Chinese.
引文
[1]李建国:《笔墨当随时代—浅谈中国画的当代选择》,《艺术界》2005年9月,第4页
[2]丰子恺《丰子恺论艺术》,复旦大学出版社1985
[3]丰子恺《丰子恺论艺术》,复旦大学出版社1985
[4]张彦远《历代名画记》江苏美术出版社,2007.
[5]韩拙《山水纯全集》中华书局出版1985.
[6]郭若虚著、俞剑华注释《图画见闻志》香港南通图书公司初版,1973年
[7]郭若虚著、俞剑华注释《图画见闻志》香港南通图书公司初版,1973年
[8]薛永年,赵力,尚刚著.中国美术(五代宋元卷)【Ml.北京:中国人民大学出版社2004.年10月:144页
[9]廖阳《中西美术比较十书》河北出版社2000年6月第9页
[10]王世贞《艺苑卮言》, (上),引自俞剑华《中国画论类编》
[11]俞致贞《俞致贞刘力上画集》荣宝斋.外文出版社1989年8月第l版
[12]刘绕纯:《对现代水墨画的回顾与思考》,《朵云》第五十一集,《现代水墨画研究》,第27页
[13]皮道坚《当代美术与文化选择》,江苏美术出版社1998版,第195页
[14]张涵《美学大观》,河南人民出版社,1986.
[15]田黎明《中国画教学研究论集》,河北教育出版社,2004年9月第一版,第57页
[16]张羽:《论抽象型水墨画》,《朵云》第五一}一集,《现代水墨画研究》,第59页】
[17]郎绍君:《论中国现代美术》,江苏美术出版社,1988年第一版,第170页
[18]潘天寿:《潘天寿谈艺录》,浙江人民美术出版社,1985年第一版,第21页
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[8]杨琪.艺术学概论[M].北京:高等教育出版社,2003.4.
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[14]姜宝林.与时俱进论笔墨[J ].羲之书画报, 2005, (10). [15 ]郎少君.笔墨论稿[J].中国美术家,2007,(7). [16 ]程大利.笔墨之中的人文精神和人格力量[J]中华读书报,2007,(10)
[2]丰子恺《丰子恺论艺术》,复旦大学出版社1985
[3]丰子恺《丰子恺论艺术》,复旦大学出版社1985
[4]张彦远《历代名画记》江苏美术出版社,2007.
[5]韩拙《山水纯全集》中华书局出版1985.
[6]郭若虚著、俞剑华注释《图画见闻志》香港南通图书公司初版,1973年
[7]郭若虚著、俞剑华注释《图画见闻志》香港南通图书公司初版,1973年
[8]薛永年,赵力,尚刚著.中国美术(五代宋元卷)【Ml.北京:中国人民大学出版社2004.年10月:144页
[9]廖阳《中西美术比较十书》河北出版社2000年6月第9页
[10]王世贞《艺苑卮言》, (上),引自俞剑华《中国画论类编》
[11]俞致贞《俞致贞刘力上画集》荣宝斋.外文出版社1989年8月第l版
[12]刘绕纯:《对现代水墨画的回顾与思考》,《朵云》第五十一集,《现代水墨画研究》,第27页
[13]皮道坚《当代美术与文化选择》,江苏美术出版社1998版,第195页
[14]张涵《美学大观》,河南人民出版社,1986.
[15]田黎明《中国画教学研究论集》,河北教育出版社,2004年9月第一版,第57页
[16]张羽:《论抽象型水墨画》,《朵云》第五一}一集,《现代水墨画研究》,第59页】
[17]郎绍君:《论中国现代美术》,江苏美术出版社,1988年第一版,第170页
[18]潘天寿:《潘天寿谈艺录》,浙江人民美术出版社,1985年第一版,第21页
[1]邵洛羊主编中国美术大词典[M].上海:上海辞书出版社,2002.12
[2]诺曼·布列逊著.丁宁译[M].浙江:浙江摄影出版社2002.2.
[3]郎少君.中国当代美术理论家文丛:现代中国画论集[M].广西:广西美术出版社,1995.12
[4]林木.20世纪中国画研究-现代部分[M].广西:广西美术出版社,2000.1.1
[5]现代水墨画研究——《朵云》第五十一集[M].上海:上海书画出版社,1999.9.1
[6]王菊生.中国绘画学概论[M].湖南:湖南美术出版社,,1998.5.
[7]鲁虹.为什么要重新洗牌[M].湖南:湖南美术出版社,2003.8.
[8]杨琪.艺术学概论[M].北京:高等教育出版社,2003.4.
[9]郑朝,蓝铁.中国话的艺术与技巧[M].北京:中国青年出版社,2005,1
[10]廖阳.中西美术题材比较(中西美术比较十书) [M]河北:河北美术出版社,2000.6
[11]贾方舟.批评的时代.第2卷:20世纪末中国美术批评文萃[M].广西:广西美术出,2003.12
[12]杨大年.中国历代画论采英[M].江苏教育出版社,2005.10.1
[13]朱国辉.国外高等教育评估中介机构探析[J] .高等教育研究学报,2004.
[14]姜宝林.与时俱进论笔墨[J ].羲之书画报, 2005, (10). [15 ]郎少君.笔墨论稿[J].中国美术家,2007,(7). [16 ]程大利.笔墨之中的人文精神和人格力量[J]中华读书报,2007,(10)