网络孔子学院

中国画岂能缺文化 1  (2012-01-03 17:48)

中国画岂能缺文化
How can lack of culture of Chinese Painting
顾绍骅著
ShaoHua Gu writing
【摘要】各个画种都有自己的特点,而代表中国民族文化的中国画是具有“诗、书、画”等中国民族文化特征,这是中国画的根本;其最高境界就是诗情画意。当下不少画家以西方绘画作为中国画创作的参照,以此倡导所谓融合中西绘画以加强“视觉冲击”和写实效果。其结果造成了中国画的发展不但失去了中国文化的民族性,也一度出现了极其萧条的现象,在这种外来文化意识决定下会将中国画引入末路;因此,我们不能舍本求末,尤其是当前中国处在国际文化交流日益频繁和实现中华民族之伟大复兴的情况下,更应该加强民族文化观念, “诗情画意”应该是中国画艺术发展的大趋势。
【Abstract】Each painting has its own characteristics, which represents Chinese culture Chinese painting is a "poetry, calligraphy and painting"and other features of Chinese culture, which is the root of Chinese painting; its highest level is the poetic。 Many Western artists contemporary Chinese paintings painting as a reference, as advocated by the so-called fusion of Chinese and Western painting to enhance the "visual impact"and the realistic effects。 The result is the development of Chinese painting will not only lose the national character of Chinese culture, there was also the phenomenon of extreme depression, in which the decision of foreign cultural awareness of Chinese painting will be introduced under the dead end; Therefore, we can not trifles, especially China's current in international cultural exchanges become more frequent and the great rejuvenation of the Chinese nation of the circumstances, should strengthen the concept of national culture, "poetic " art of Chinese painting should be the trend of development。
时下经济的发展带来了文化的繁荣。打开网页,搜索“中国画……”:满是冠以“著名书画家……”;而观看其作品时,却是“惊人的相似”——可谓“千人一面、万人一貌”啊!一部分画者均以摹仿、抄袭为能事,形式的、僵化的、程式化的画作与画论充斥着中国画坛,更加速了中国画走向没落与衰败,中国画的发展是混沌的,缺乏艺术主见。艺术家们如何保持清醒的头脑,不被市场牵着鼻子走而失去探索的锋芒与锐气。中国画市场的混乱造成艺术市俗化倾向的发展,在技巧普遍有所提高的同时,艺术格调并没有得到相应的提高,甚至在某些方面有所降低。
Nowadays has brought economic development and cultural prosperity。 Open the Web page, search for "Chinese painting 。。。 。。。": Man is known as a "renowned painter 。。。 。。。 "; and watch their works, but it is "strikingly similar"- described as "thousands of people side, people an appearance, " ah! Part of the painting caught with imitation, plagiarism is sensationalism, formal, rigid, stylized paintings of paintings and filled with Chinese painting, Chinese painting to a more accelerated decline and decay, the development of Chinese painting is chaotic, the lack of artistic minds。 Artists how to keep a clear head, not to explore the market led by the nose and lose the edge and elan。 Chinese painting market turmoil caused by the development of artistic city of secularization tendencies, the general increase in the skills at the same time, artistic style has not been a corresponding increase, or even decreased in some areas。
现在中国画学习还有一种现象,那就是太“中西合璧”了,学生考美院入门试是色彩素描画,然后再接受中国传统绘画的审美艺术,其实这个时候的学生早已经形成一种西方审美标准,然后在这套标准的影响下来学习中国画,这样一来,将会越来越少的学生能够完全的理解传统中国画的精髓。并且,艺术院校招生文化课分数一直处于很低的状态,教学一直把中国画当成一种绘画技术来教。文化课是艺术院校的弱项,科班出来的毕业生一出校门就被当成艺术家,中国画的笔墨技法是他们手中唯一的仗恃。实际上他们手中只有中国画的外壳,中国文化的实质已经丢掉了。他们只知道工笔重彩和写意的区别,有多少人知道写意的“意”字到底是何意?一个世纪以来,就这样中国画画家手中的技术越来越精湛,胸中的文化却越来越少了,不少人除了笔墨就不知道中国画还有什么了。
Now there is a phenomenon of learning Chinese painting, that is too "Western ", the Academy of Fine Arts students test entry test is color sketches, and then accept the aesthetic art of traditional Chinese painting, in fact, this time the students had already formed a Western aesthetic Standard, and then set down the standard of learning Chinese painting, this way, fewer students will be able to fully understand the essence of traditional Chinese painting。 Moreover, cultural studies, art school enrollment has been in a very low fraction of the state, has been teaching Chinese painting to painting as a technique to teach。 Cultural studies is the art school's weaknesses, Coban out graduates out of school was as artists of a Chinese ink painting technique is the only Zhangshi their hands。 Chinese painting is actually in their hands is only the shell, the essence of Chinese culture has been lost。 They only know Meticulous re the difference between color and freehand, freehand, how many people know the "meaning " word in the end is the means? A century, it is so at home in the hands of the Chinese painting techniques become more sophisticated, the chest of the culture is less and less, and many people in addition to ink do not know what a Chinese painting。
要从民族心理自信的层面上对传统资源的精神内核再度发现,并必须在具有蕴涵着深厚民族文化的底蕴之上创造。由此而产生的艺术还应与艺术家自身全面的人文素养、对当前国际文化格局的全面认识、和由时代和生活引发的冲动与思考而获得的孕含个性化的创造密切相关。一个民族的艺术如果离开了本民族的文化母体,就失去了灵魂与价值。而艺术家的创造性必须自觉地根植于民族传统文化的基础之上。作为中国文化中最有代表性的视觉化文化样式之一的中国画艺术,在探索宇宙自然奥妙的同时,从一开始就不满足于描摹客观物象的外在体貌,一直具有强烈的精神性和自我中心的态度,将包蕴着中国哲学内涵的创造性作为绘画追求的至高境界。而笔墨的创造与发展更加强调了语言体系的逐步完善,笔墨精神和形式应用是中国画家在创作实践中始终追求的核心。
The level of confidence from the national psychology resources on the spiritual core of traditional re-discovered, and must have a profound implication on the national culture heritage to create。 The resulting art and the artists themselves should also be comprehensive humanities, the pattern of the current comprehensive understanding of international culture, and life caused by the impulse times and obtained pregnancy and thinking with the creation of personalized closely related。 If the art of a nation left the nation's cultural matrix to lose its soul and value。 The creative artist must consciously rooted in the foundation of traditional culture。 As the most representative of Chinese culture in the cultural style of the visual art of Chinese painting, exploring the natural wonders of the universe at the same time, from the beginning to meet the objective in depicting images of the external physical appearance, has a strong spirit and self-Centered approach, meaning the package exhibited the influence of Chinese philosophy, the pursuit of creative excellence as a painting。 And the ink is more emphasis on the creation and development of the language system, the gradual improvement of the spirit and form of application of ink painter in the creative practice is always the pursuit of the core。
在西方“实体”认识论与中国“辩证”认识论相对立的前提下,中国出现了以怀疑和排斥中国传统文化,片面追求西方文化为主导的艺术取向,致使中国画发展失去了抚育之根——中国的传统文化。其结果是将中国画的发展推向一个极端,要么保守自封,坚守陈腐;要么全盘西化,以西方理论将中国画改造得不伦不类。在此期间,虽然也出现了几位为中国画的再发展不懈求索的画家,然而由于他们缺乏对中国画的理论渊源——中国传统文化进行研究,因此使只能局限在以“术”求“术”的艺术思维之中,无法摆脱长久以来形成的“意象”的思维方式。
In the West, "entity " Epistemology and Chinese "dialectical" theory of knowledge as opposed to the premise that China appeared to doubt and rejection of traditional Chinese culture, one-sided pursuit of Western culture as the leading art direction, resulting in development of Chinese painting lost the rearing of the root - China Traditional culture。 The result is the development of Chinese painting to a extreme, or self-proclaimed conservative, stick to trite; or wholesale Westernization, in order to transform the Western theory of Chinese painting was neither fish nor fowl。 During this period, although there have been some further development of China's relentless quest painting artist, but because they lack the theoretical origins of Chinese painting - to study traditional Chinese culture, thus allowing only limited to "painting technique" obtained "painting technique"art of thinking among the long form can not get rid of the "image " way of thinking。
虽然他们在艺术上也取得了一定的成就,研究出一些新的技法,但是并未从理论上根本解决中国画的创新与发展问题。一些懵懂的年轻人或者本来就是洋人弟子又甘心为洋奴的人,正在忙于把中国画弄成现代派的中国变种,他们以为西洋现代派就是明天中国画的方向。西洋画会归于消灭,中国画也会变成所谓观念艺术,他们还以为他们兢兢业业所做的,就是推动中国画早点灭亡,早灭亡就是发展,尽管是奇谈怪论,却市场的确不小。笔者认为造成现状的因素是多种的,但归结是两类:
Although they have made some artistic achievements, developed some new techniques, but did not solve the fundamental theory of Chinese painting from the innovation and development。 Some ignorant young people or foreigners disciples has always been willing to servility to foreigners who ended up being busy with the modern Chinese painting Chinese variant of Western modernism is tomorrow they think the direction of Chinese painting。 Be attributed to elimination of Western painting, Chinese painting will become the so-called conceptual art, they thought they were hard done is to promote the early demise of Chinese painting, is the development of early demise, albeit absurd argument, but the market is indeed not small。 I believe that a variety of factors caused the status quo, but is attributed to two categories:
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评论 (5 个评论)

  • Saw Kin Le
    Saw Kin Le 2012-01-04 21:37
    "优秀的中国画要有文化内涵",说得再正确不过了!
  • 历鑫
    历鑫 2012-01-05 14:05
    中国画本身就是一种内涵不是吗?我觉得一个没有内涵的人也根本作不了中国画。反而在日常生活中,如果一个人国画画得好,人们一般都会感觉此人是个有内涵的人。
  • 顾绍骅
    顾绍骅 2012-01-17 18:42
    Saw Kin Le: "优秀的中国画要有文化内涵",说得再正确不过了!
    谢谢您的支持!
  • 顾绍骅
    顾绍骅 2012-01-17 18:51
    历鑫: 中国画本身就是一种内涵不是吗?我觉得一个没有内涵的人也根本作不了中国画。反而在日常生活中,如果一个人国画画得好,人们一般都会感觉此人是个有内涵的人。
    谢谢您的支持!
    但是现在有中国传统文化底蕴的中国画家不多,看得“漂亮”外表的画,也许只是在技法上还是“说得过去”的;但是传统文化底蕴不足。这也是我撰写本文,呼吁“中国画不能缺文化”的用意所在。
  • 历鑫
    历鑫 2012-01-22 15:51
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