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双语版·媚俗毁坏当代“中国画”

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发表于 2018-1-2 09:10:59 | 显示全部楼层 |阅读模式
媚俗毁坏当代“中国画”
Kitsch destroys contemporary Chinese painting"
---------试论中国画的本质 续二
On Chinese painting essence Two
顾绍骅
Gu Shaohua writes
【编者按】国学大师季羡林的高足复旦大学历史系教授钱文忠说(钱文忠教授:中华民族的传统文化在哪里):我们在文化上取得的成就,远远不能和我们在经济方面所取得的成就相匹配啊!现在国际社会拿什么东西来赚我们的钱?拿文化啊!比方说,LV一个包,路易威登的包,一万块钱一个,入门级---,在上海街上,马上有人问你同样“水货”五百元一个,如果去义乌会更加便宜,二百块三个还要送其他商品,并且,中国人制作的,保证质量,然而你却只要正宗的;这就是文化的价值体现啊!为此,我在中国画的论文中呼吁:“舍弃坐拥博大精深的优秀历史传统文化的“先天人文优势”,抛弃白描学素描,追求光影效果,只见技法,不见思想乃是本末倒置!(复兴中华,呼唤民族文化品牌!)
[Abstract]Ji Xianlin, a master of Chinese culture The His Student Qian Wenzhong, (Professor Qian Wenzhong said: the traditional culture of the Chinese nation where): we have made in the cultural achievements, and far from our achievements in economic terms, ah! What does the international community use to make our money? Take culture! For example, a LV package, the package of Louis Weedon ten thousand dollars an entry level, in the streets of Shanghai, immediately someone asked you the same "smuggled goods" five hundred yuan a, if it will be much cheaper to go to Yiwu, but also to send two hundred blocks of three other commodities, and quality assurance Chinese production however, as long as you have the authentic; this is the cultural value! To this end, I called in China painting paper: "abandon the excellent traditional culture broad and profound with the innate cultural advantages, abandon the pursuit of science drawing sketch, lighting effects, and techniques, not thinking, is to have the order reversed! (rejuvenation of China, calling for national cultural brand!)
西方绘画的写实性,是其存在的主要功能;其中自2000年代早期以来,美国照相写实主义画家丹尼斯·彼得森(Denis Peterson)的开拓性超级写实主义(Hyperrealism,又称高度写实主义),是绘画和雕塑的一个流派,其风格类似高分辨率的照片。作者称其为傻瓜艺术(冷冰冰的机械制图,除了一览无余的直白表现外,没有人文性、思想性,只有“看图识字”的功能,这种与数码相机争高下的类别,遂称其为~)。
Realism of Western painting, is the main function of its existence; and since the early 2000s, the United States photorealist painter Dennis Peterson (Denis Peterson) and super realism (Hyperrealism, also known as high realism), is a school of painting and sculpture, its style is similar to the high resolution photos. The author called it "the fool art" (cold mechanical drawing, in addition to the Take in everything in a glance straightforward , there is no humanistic, ideological, only "children figure literacy" function, this kind of competition with the digital camera category, called it ~.
超级写实主义举例:
Examples of super realism:

1 超写实绘画.gif (167.58 KB, 下载次数: 1)

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 楼主| 发表于 2018-1-2 09:31:59 | 显示全部楼层

如今,追求细腻风格、写实性的当代“中国画”,铺天盖地地充斥着我们的眼帘;西方绘画构图、西方绘画素描、西方绘画色彩、西方绘画透视……;我想,徐悲鸿在世,恐怕也不愿意看到这样的“中国画”吧!这样被“奴化”的中国画,除了使用的材料、工具还是老祖宗留下的以外,思想、形式等等已经变质了,已经没有了中华传统文化的味道了;这样的“中国画”作品是少数?我们认为是在“创新”,不幸的是,这已是普遍的现状;这种被“奴化”的中国画,是民族文化不自信的表现。一些有识之士纷纷撰文批判这一危险倾向:“经济发展是手段,我们的目的是让我们的文化成就辉煌灿(请打开链接),《当下中国画缺少精神内涵》、《中国画患“文化贫血症”?李苦禅之子撰文批驳》、《当代中国画缺什么》、《毫不客气地讲,当下写意花鸟画的发展呈衰微态势,很不乐观!》”这些观点都反映:当代中国画缺文化、被西化这个非常严重的问题!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”。
Today, the pursuit of delicate style and realism of contemporary Chinese painting is full of our eyes; Western painting composition, Western painting sketch, Western painting color, Western painting perspective...... I think, Xu Beihong is alive, I'm afraid I don't want to see such "Chinese painting"! This is the "enslavement" Chinese painting, in addition to the use of the tools or materials, our ancestors, thought, form and so on has gone bad, has no taste of traditional Chinese culture; such "China painting is one of the few? We believe in "innovation", unfortunately, this is a common situation; this was the "enslavement" Chinese painting, national culture is not confident.
A   number of person with breadth of vision Writing articles criticized this dangerous tendency: "economic development is the means, we want to make our cultural achievements bright (open link)," the Chinese "," lack of painting spirit connotation Chinese painting with "cultural anemia"? "Li Kuchan's son wrote criticism", "contemporary Chinese painting missing what", "bluntly speaking", the current freehand flower and bird painting development is declining, very optimistic! These views reflect that the contemporary Chinese painting lacks culture and is westernized. This is a very serious problem! Each painting has its own characteristics, and on behalf of the national culture Chinese Chinese painting is a "poetry, calligraphy and painting" Chinese national culture characteristic, which is the fundamental Chinese painting; the highest state  is" poetic quality Chinese painting".
顾绍骅的艺术感悟:一件艺术品需要彰显独特的艺术个性,具有时代精神,催人向上或积极进取;不是简单地“对客观事物的描摹中”,否则,艺术品的价值等同于“数码照片”(甚至于没有数码照片的“清晰度”)。
Gu Shaohua's view of Art: a piece of art to highlight the unique artistic personality, with the spirit of the times, upward or aggressive; instead of a simple "description of objective things, otherwise, the value of art is equivalent to the" digital photos "(or even no digital photos of the" definition ").
被“奴化”的中国画举例:
"Enslavement" Chinese painting Give an example:

[url=http://bbs1.people.com.cn/postImages/Y0/BD/45/4C/FA/1510708956410.jpg][/url]

4 微信图片_20171008091727.jpg (137.74 KB, 下载次数: 0)

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 楼主| 发表于 2018-1-15 17:41:49 | 显示全部楼层

在世界面前,能够代表中国的美术就是中国画。它是我们中华民族的优秀传统,精英文化,是国粹,是中国美术的核心主体。几年前,遇到一个搞国学的长者,问:“是画家吗?”“是。”“画什么画?”“中国画。”“唉,现在哪还有中国画,都成洋垃圾了。”十分惊诧。读《陈绶祥:中国画并非水墨画》,文中提到:“当前的绘画,非常简单,不中不西,没有准则,没有目的。”这“不中不西”说明现在的中国画,已不是真正意义上的中国画了。著名艺术收藏者郭庆祥大喊“中国当代艺术就是一堆垃圾”。 2014年的全国第十二届美展观者如云,叹息声声,更多的是悲哀和迷茫。因为这已经不是一个中国画展了,有人说最多算一个“山寨版的中国画展”,也有人说可算“半个山寨版的西洋画展”。整个展览入选作品近600幅就有近500幅工笔画,一个全国中国画展竟成了一个全国工笔画展。是工笔画便于造型更接近西画的感觉?谁都知道中国画以写意画为主体,工笔只是一个基础画科,再好的一幅工笔画都无法代表中国画的最高水平。从整个展览的作品来看,有如下几个特点:第一无论是工笔还是写意都立足于物象的素描立体造型。第二都注重于人工制作,甚至拼贴和机械打造。第三追求画幅大、画面满,甚至堆砌,一味追求画面视觉冲击力。第四不讲究笔法和墨法,也就是不要笔墨。第五,互相照抄照搬,多人一面,部分抽象作品直接搬袭西方。近600幅大作,浩浩荡荡,展线数千米,一小时路没走完画已看完。想一想曾于美术馆看一幅黄秋园的扇面都要驻足数小时之久,原因也只有一个,一个是表象,一个是内在。

In front of the world, the art that represents China is Chinese painting. It is an excellent tradition of our Chinese nation, an elite culture, a quintessence of Chinese culture, and the core of Chinese art. A few years ago, met a senior Chinese scholar, asked: "is it a painter?"" "Yes."." "What's the picture?"" Chinese painting." "Well, there are Chinese paintings now. They're all foreign garbage." Very surprised. Reading "Chen Shouxiang: Chinese painting is not ink painting", the article said: "the current painting is very simple, not in the west, there is no criterion, no purpose." This "no difference between the West and the west" shows that the present Chinese painting is no longer a true Chinese painting. Guo Qingxiang, a famous art collector, shouted, "Chinese contemporary art is a pile of rubbish."". In 2014 the Twelfth National Art Exhibition crowd of spectators, what sighs is more sad and confused. Because this is not a Chinese painting exhibition, some people say that at most a "Shanzhai version of the Chinese Painting Exhibition", some people say that can be regarded as "half a cottage version of Western painting exhibition."". There are nearly 500 paintings in nearly 600 works, and a national Chinese painting exhibition has become a national fine brushwork exhibition. Is the painting for other closer to Western feeling? Everyone knows that Chinese painting takes freehand brushwork as the main body, fine brushwork is only a basic painting subject, and a fine painting can not represent the highest level of Chinese painting. From the works of the exhibition, there are several characteristics as follows: first, both fine brushwork and freehand brushwork are based on the image of the sketch, three-dimensional modeling. Second are focused on artificial production, and even collage and mechanical creation. Third pursue large picture, full screen, even stack, blindly pursue the visual impact of the screen. Fourth, do not pay attention to brushwork and ink, that is, no pen and ink. Fifth, copy each other, many people, part of the abstract works directly moved to the west. Nearly 600 paintings for exhibition line several kilometers, go forward with great strength and vigour, an hour did not finish the painting has finished. Want to have a look at Art Museum of Huang Qiuyuan fan surface be stopped for several hours, there is only one reason, one is an internal representation.

任何人文艺术的表达方式有两种:一、思想愿望(中心思想);二、艺术情趣——技术语音,在这里是指技法(绘画语言)。如果不清楚其本质(方向)的话,就会“下笔千言,离题万里”!

There are two ways to express any art: an ideological desire (the central idea); two, art -- speech, here refers to techniques (painting). If you do not know the nature (direction) it will "lead remote from the subject"!

中国画的本质是中华传统文化底蕴(借景抒情、托物言志)与笔墨线条(书法表现)的结合!这样,内容(思想内涵、书法字迹)、表现形式(大小写意、工笔)的二者统一,缺一不可才能称得上中国画。顾绍骅的艺术思想:中国画的发展必须依照“中国方式”——集中国传统文化底蕴(诗、书、画)为一体的观点——“诗情画意”是中国画的灵魂和中国画发展方向;同时,也是世界美术作品的发展方向!

The essence of Chinese painting is the traditional Chinese culture (lyric, etc.) and ink lines (calligraphy) combination! In this way, the content (ideological content, calligraphy handwriting), the form of expression (size, freehand brushwork, fine brushwork) of the unity of the two, indispensable, can be called Chinese painting. Gu Shaohua's art thought: the development of Chinese painting must be in accordance with the "Chinese" - in China traditional culture (poetry, calligraphy and painting) as one of the "poetic quality Chinese - Painting" is China painting soul and China painting development direction; at the same time, which is the trend of the world of art works!

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 楼主| 发表于 2018-1-18 09:24:20 | 显示全部楼层

“顾绍骅的诗情画意”(创作特点:请见《复兴中华,呼唤民族文化品牌!》 上)举例(抛砖引玉):
Gu Shaohua poetic quality Chinese painting" Give an example (throwing a brick to attract jade):
  















中国画的特征是托物言志,借物抒怀(书法表达);因此,“言志、抒怀”是中国画表现的中心;中国画非常强调意境。笔者认为:从一般技法表现上讲,难以体现中国画的内含(中国画的这一优秀传统文化艺术瑰宝之精髓)。诗 、书 、画溶为一体,这才是中国画的真谛,是国学(国萃),以诗为魂,诗画相济,相辅相成,相得益彰的传统文化样式,已成为经典,是中华民族的骄傲!(越是传统的,就越具有民族性;越是民族的,就越具有世界性。)中国画对画家有人文要求,要“人”、“文”双修,对欣赏者的要求同样也要有“文”的要求;“文”是进入中国画创作和欣赏的门槛,也是沟通画家和社会的桥梁;“当代漂亮的中国画”,当然不是真正的中国画,只配称做“被奴化的中国画”!

The characteristics of Chinese painting is ", borrow Shuhuai (calligraphy expression); therefore," expressing feelings, "is China paintings China painting center; great emphasis on artistic conception. The author thinks: from the general technical performance, it is difficult to embody the connotation of Chinese painting (the essence of Chinese traditional culture and art treasures). Poetry, calligraphy and painting as one solution, this is the true meaning of Chinese painting, is Ancient Chinese Literature Search (China Chinese painting takes poetry extract), as its soul, Combination of poetry and painting, complement each other's traditional culture style, has become a classic, is the pride of the Chinese nation! (the more traditional, the more national; the more ethnic, the more cosmopolitan) China painting humanistic requirements of the painter, "the character of Chinese traditional culture, to" double, on the appreciation requirements also have "Chinese traditional culture"; "Chinese traditional culture" is entering the creation and appreciation of the China painting is the painter and the social communication barriers, the bridge; "contemporary beautiful of course, Chinese painting" is not really China painting, only to be enslaved China painting"!

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 楼主| 发表于 2018-1-18 09:24:55 | 显示全部楼层

“顾绍骅的诗情画意”(创作特点:请见《复兴中华,呼唤民族文化品牌!》 上)举例(抛砖引玉):
Gu Shaohua poetic quality Chinese painting" Give an example (throwing a brick to attract jade):
  
10 内页四 3 闲野03.jpg (228.9 KB, 下载次数: )

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 楼主| 发表于 2018-1-23 09:27:32 | 显示全部楼层

入"中和"(综合)之境·恢复本心、自在自然·天人合一。考察中国美术史,北宋以前的作品多是穷款,名字藏于树石不易看到之处,完整的题跋始于北宋的文人画家,如苏轼、文同、米芾。此后,画家在作品上不仅题款,且加诗跋,“题”在前,“跋”在后。而当时皇家画院中御用画家的作品多是穷款。古代画家把诗文题在画面上,使诗、书、画三者之美巧妙结合,相互生发,画面更富形式美感,逐渐形成了中国画的艺术特色。目前中国画穷款多的原因有三点:“一是很多画家肚子里墨水少,写不出诗词来,或者书法水平不行,有的甚至照抄唐诗宋词都出错,那还不如没有题款。二是当前有一种比较时髦的画法,就是画得满、画得黑,再题款就喘不过气来了。有些人强题,是对画面的一种破坏,还不如不题。三是新水墨,难用传统的要求来衡量它,因为它的画法、构图吸收了外来的东西,与我国传统的题款格格不入,反而不可题款。”

Enter the "Avoid leaning to either side,keep cool;"   (integrated) environment, nature, conscience, restoration of harmony between man and nature. Study Chinese art history, the previous works of the Northern Song Dynasty is The composition of Chinese painting, the final signature, the artist name, hidden in the trees in the stone, is not easy to see where the complete short comments, annotations etc., on a scroll began in the Northern Song dynasty literati painters, such as Su Shi, Wen Tong, Mi Fei. Since then, painters on the work not only In the China painting inscribed Chinese characters, and use Poetry To explain The meaning of picture, "To explain" in front of, Write the words in the book after. At that time, the Royal painting academy, the painter's works are mostly The composition of Chinese painting, the final signature. Ancient artists put poems and prose on the screen, making poetry, books, paintings of the three beautiful combination, mutual production, the picture is more formal aesthetic, and gradually formed the artistic characteristics of Chinese painting. At present, there are three reasons for poor Chinese paintings: "first, many painters lack culture, can not write poetry, or calligraphy level is not good, and some even copy the poetry of the Tang Dynasty and Song Dynasty all wrong, that is not as good as no questions.". Two, there is a more fashionable painting, that is, the painting is too full, painted black, and then Writing Chinese characters on Chinese paintings out of breath. Some people strongly question, is a destruction of the picture, not as good as not short comments, annotations, etc. on a scroll. Three is the new ink painting, difficult to use the traditional requirements to measure it, because it's painting, composition absorb foreign things, and our traditional questions, but not the question."

“高情逸思,画之不足,题以发之。” 清代方薰在《山静居画论》中强调题跋不仅可以补充画面的构图布局,写出画家的画外之意。题跋与绘画内容要相互补足、相得益彰才算完美。

"The feeling of elegance, elegant thought, in the picture can not fully express, Writing Chinese characters on Chinese paintings to express." In the Qing  Dynasty Fang Hsun,in the "Quiet life in party and the mountains Painting theory Writing Chinese characters on" that Chinese paintings can not only increase the picture composition layout, write the painter's painting. Writing Chinese characters on Chinese paintings and the content of painting to complement each other, complement each other to be perfect.

中国画的题跋按字数长短,大致可分为三类:长款、穷款和藏款。历代在画面上落长款的名家中不乏高手,他们不仅文采惊人,其书法更是了得。如:1、徐渭在《葡萄》上的题诗:“半生落魄已成翁,独立书斋啸晚风,笔底明珠无处卖,闲抛闲掷野藤中。”如果抛开这首诗,只是—串葡萄而已,还有何意义。

16、《墨葡萄图》(国画) 徐 渭.jpg (245.49 KB, 下载次数: 0)

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 楼主| 发表于 2018-2-13 08:06:51 | 显示全部楼层

中国画的虚无、恬淡杂谈

——中国画的传统文化底蕴浅析

“中国画这个东西跟中国文化一样,可谓是博大精深。”谁也不敢说谁能一言蔽之,一句话给予概括。说的人只能说明他的浅薄和无知。因为人类的文明进程发展到今天,依然有很多东西弄不明白。文化这个东西就是人类脑子不断折腾、变化出来的。不同的人群就造就了不同的文化,彼此就是不同的,这跟经济、政治、社会一样。现在时代变化是那么快,很多东西日新月异,潮流更替让我有点跟不上趟。所以,我想把我知道的一些东西,介绍给大家:今天,我是站在中国文化的立场来说中国画,但并不代表保守,也会借鉴西方艺术理论来帮助表达自己的意图。搞艺术的人,现在的国画界,有人玩技术,有人玩花样、形式,有人玩主题、内容。其实一幅画应该给人一种独特的内在感受。每一种画派都有自己独特的好,都有雅品俗品。不要拿风格说事,哪种风格都有好的作品。比如写实主义——唐画、宋画画得叫个好。它的写实不让你觉得腻烦,千笔万笔亦不嫌多。徐渭“舍形而悦影”,吴昌硕“画气不画形”,都好。……中国画的根在于她的“文化情节”——深厚的传统文化底蕴上的;如果“抛弃”中国画的“文化情节”去谈“国画”?就如同将“鲜活”中国文化大树上,硬生生地扯断她的茎、叶;那么,这些“茎、叶”将会命不保矣!所以,真正的艺术品不在于外表,重在内涵;不在于形式,而重在于思想品格。思想品格是艺术的生命,不管是东西方艺术,不管画什么画。总之,搞艺术的人玩的是精神,拼的是文化,较量的是修养。艺术不是职业,是一种人格的参与。荣格(瑞士心理学家)说过艺术就是一种神秘的参与。这种参与就是艺术的脉。各位要从这个角度去找寻到自己的艺术。

中国画,实际显现中国文化的精神,画画,是精神之事,是思想情感之事,是文化修养之事,是一个人的生命品格。古人云:人品不高,落墨无法。此语虽过极端,但也“道出”思想品格在绘画领域,更表现为一种文化品位和积极向上的心灵追求——个人修养。一种关于艺术、生命、生活的见解与修为;因此,窃以为,我们搞艺术的,需要有传统文化素养、为人诚实善良;力争大爱无疆、上善若水。


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