注册找回密码

QQ登录

只需一步,快速开始

扫一扫,访问微社区

国学复兴网 门户 查看主题

双语版·中国画之“伤、殇”辩

发布者: 顾绍骅 | 发布时间: 2017-2-10 11:54| 查看数: 308| 评论数: 0|帖子模式

双语版·中国画之“伤、殇”辩







中国画之“伤、殇”辩
Resolution Chinese painting is "injured? Ordead"
“伤”者,受损、受害也。“殇”者死亡也。亦称“殇折”、“殇夭”。
"Shang",hurt ah. "Shang" Death ah. Also known as "Shang zhe" and"Shang yao".
当前,无论是中国画展览,艺术市场上,还是书画课堂等等,能够见到的中国画,基本是没有题画诗的“白板”。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。
At present, whetherit is the Chinese painting exhibition, the art market, or painting class, etc.,to see the Chinese painting, basically no Poems Inscribed paintings on; poem inpainting whiteboard". At present, many artists use western painting as areference to the creation of Chinese painting, in order to advocate theintegration of Chinese and Western painting to enhance the "visualimpact" and realism. As a result, the development of China painting notonly lost The nationality of Chinese culture, also once appeared the phenomenonof extreme depression, in which the decision of foreign cultural awarenessunder the will China painting into end; therefore, we cannot Concentrate ontrifles and neglect Essentials, especially the China in international culturalexchanges become more frequent and the realization of The great rejuvenation ofthe Chinese nation, should strengthen the concept of national culture,"poetic Chinese painting" should be the trend of the development ofthe art of painting China.
被“油画化”的中国画举例
An example of "oil painting" Chinese painting




为何如此“景象”?究其原因:至从清朝后期以来政治上的无能、国力匮乏、经济、科技、军事的落后等等因素,导致“八国联军”用洋枪洋炮“轰”开我国的国门,不仅仅是使“天朝龙颜”俱失,就连国民的信仰也随之崩溃;于是,崇洋媚外之心,因为国境突变而突显。以致“革新派”否定一切,打倒一切;
Why so"Scene"? The reason: since the late Qing Dynasty from the politicalto incompetence, lack of power, economy, science and technology, military andso on backward factors, resulting in "the Eight-Power Allied Forces,aggressive troops sent by Britain, the United States, Germany, France, tsarist,Russia, Japan, Italy and Austria in to suppress the anti-imperialist Yihetuan1900. Movement of the Chinese people" Advanced weapon"Detonation" in our country, not only is the "Imperial courtMajesty" all lose, even the national faith collapsed; so, Be crazy aboutforeign things and obsequious to foreigners Country Situation mutation because theideas pop and highlights. So that "reformist" deny everything,everything;
如康有为:“今宜取欧画写形之精,以补吾画之短。”陈独秀:“改良中国画断不能不采取洋画写实的精神。”徐悲鸿:“中国画八百年来习惯,尤重生纸,顾生纸最难尽色,此为画术进步之大障碍。” 徐悲鸿的“将西方造型艺术融于中国画,放弃'白描’改为素描,追求'光影效果’使得中国绘画语言得以丰富、更形象(按照齐白石的观点:媚俗也、匠气也。并且,技法是外显的、相对于文化内涵是单一,容易掌握。);但却忽略了中国画的文化内涵、人文底蕴;绘画技法相对于文化内涵是单一,容易掌握;而中国画的丰富文化底蕴,不是表面上的“光鲜靓丽”所能够代表(代替)的,也是不容易被掌握。
Such as KangYouwei: "now you can use western painting beautiful method to remedy theshortcomings of Chinese painting." Chen Duxiu: To improve Chinese painting,we take the of realism in Western painting spirit must." Xu Beihong:Chinese painting for eight hundred years, Especially love use absorbent"paper", see "absorbent Xuan paper" the difficult to showcolor, which is a major obstacle to the progress of painting in." XuBeihong's "western art into Chinese painting, abandon the" line"to pursue" shadows "sketch, makes China painting languageenriched and more image (in the opinion of Qi Baishi: Very secular, Carpentergas. Moreover, the technique is explicit, relative to the cultural connotationis simple, easy to master But it ignores the China painting; culturalconnotation and cultural heritage; painting techniques relative to the culturalconnotation is simple, easy to master; and The rich cultural background ofChinese painting, not on the surface of the "Bright and beautiful" torepresent (instead), it is not easy to master.
要知道跟在别人后面是没有出路的。(自从1839年8月19日法国画家达盖尔公布了他发明的“达盖尔银版摄影术”,于是世界上诞生了第一台可携式木箱照相机。西方艺术家们开始思考“能否将写实风格进行到底”了。于是,在“巴比松画派”后,西方的“印象主义、野兽派、抽象艺术、超现实主义……”成为了西方绘画的“主流”或发展方向;艺术家波洛克、莫奈、梵高、毕加索的作品并非“写实主义”他的作品却倍受人们喜爱:莫奈、马奈作品的“笔触未经修饰而显见,构图宽广无边,尤其着重于光影的改变、对时间的印象……”)
To know thatthere is no way out behind others. (since August 19, 1839 the French painterDaguerre announced his invention of the "Silver Edition Daguerrephotography", then the birth of the world's first portable wooden boxcamera. Western artists began to think about whether the realistic style in theend. So, in the "Barbizon school", "western impressionism,Fauvism, abstract art, surrealism......" Paintings of the West has becomea "mainstream" or development; artist Pollock, Monet, Van Gogh,Picasso's work is not "realism" of his works are very popular: Monet,Manet's works "without modification and obvious brush strokes, thecomposition of boundless, especially in light of the changing time theimpression...")...
从艺术层面上看,“五四”时期的“美术革命”把中国绘画的衰落归于文人画的逸气和写意,从而倡导写实精神来代替文人画传统,无疑是相当浅薄的。因为文人画所追求的逸气是一个更纯粹性的人文内涵,文人画的笔墨与心灵直接对应,也是艺术超越对物象的依赖达到很高层次的标志,而且也是士大夫的逸气这种形而上的内涵,才使中国文人画走到笔墨与心灵的直接对应的层面。尤其值得注意的是,当“五四”时期的思想家引进西方的写实主义的时候,欧洲传统写实主义正经历着转换,这种转换恰恰也是追求更纯粹性的人文内涵,以及画面摆脱叙事、描绘物象而进入心灵与色彩、笔触等直接对应的层次。
From theartistic perspective, the "54" period of "Art Revolution"to China painting decline backward to the high-mindedness of literati paintingand freehand brushwork, which advocates the spirit of realism to replace thetraditional literati painting, is quite shallow. Because the literati paintingpursuit of high-mindedness is a more pure humanistic connotation of literatipainting, Traces of Chinese brush and Thought soul directly corresponding tothe object of art is beyond the mark to rely on a very high level, but also theliterati and officialdom (in feudal China) high-mindedness Advanced ideas inThe surface of the connotation the object., the China literati painting came toTraces brush and Thought Chinese of corresponding soul level. In particular,when the "54" period of the introduction of western thinkers realism,traditional European realism is undergoing transformation, this transformationis precisely the pursuit of pure humanistic connotation, and the Get rid ofnarrative, the picture depicting images into Thought soul, brush stroke in andcolor painting and correspond directly to Traditional culture the height ofcalligraphy.
事实上,自陈独秀提出“革王画的命”始,就有人意识到以上问题。如陈师曾认为:“文人画不求形似正是画之进步。”“以一人作画而言,经过形似阶段,必现不形似之手腕,其不形似者,忘乎筌、蹄,游于天倪之谓也。西洋画可谓形似极矣,自19世纪以来,以科学之理研究光与色,其与物象体验入微;而近来之后印象派,乃反其道而行之,不重客体,专任主观。立体派、未来派、表现派联翩演出,其思想之转变也足见形似之不足尽。”
In fact, sinceChen Duxiu put forward the "Against Chinese painting method" began,it was realized that the above problems traditional. As Chen Shiceng said:"Chinese Painting Not seeking the shape is the progress of Chinesepainting". Not." "In order to paint a person, after theappearance of the stage, the performance must be from the shape of the method,to the stage of not like, forget the sound of music, horse gallop, tour inNatural division that also. Western painting can be said to be very image,since nineteenth Century, with the scientific truth of light and color, and theimages and the recent experience in; after Impressionism, but act in adiametrically opposite way, not heavy object, subjective time. Cubism,futurism, performance school and other joint performances, the transformationof their thinking is enough to see the shortcomings of the "Pursuitshape"."
作为西画家的倪贻德也认识到:“方今对于国画之非难者,大约都持有两种最大的理由,第一,说国画不合于科学的方法,如轮廓之不准确,光暗之无分别,远近之不合透视,色彩又太单纯,于是极力想把西洋画的方法与我们的国画结合起来,以另成一种折衷派;第二,说国画所有材料太简单了,不足以充分表现物象,于是急急乎把西洋画中的材料来替换了。但我以为这两层都不是十分重要的事,因为充其量也不过能把物象描绘得十分准确罢了。但像不像的问题,艺术上原不能成立。
As the Westernpainter Ni Yide also recognized: "now that China painting is notdifficult, about holding two biggest reasons, first, traditional Chinesepainting is different from scientific methods, such as profile is not accurate,light dark respectively, the distance of the different perspective, color istoo simple, so they want to the method of Western painting combined with ourpainting, to the other as a compromise; second, said China painting all thematerial is too simple, not enough to fully show the images, then hastily putbetween the western painting materials to replace. But I think these two arenot very important, because it is just the object depicted very accurately. Butunlike the problem, the art can not be established.
艺术上所重要的,却是由对象引起的内部革命。”“最重要的是艺术态度的变更。现在一般国画家的态度,是模仿、追慕、幻想……而与现实生活离得太远”,“所以我们应当把这种态度改变一下,从模仿到现实,从幻想到直感”,“去寻求新的诗意、新的情调”,“去表现新的画境”。黄宾虹亦在《论中国艺术之将来》一文中意识到“泰西绘事,亦由印象而谈抽象,因积点而事线条,艺力既臻,渐与东方契合”。
What isimportant in art is the internal revolution caused by the object.""The most important thing is the change of attitude. Now the generalattitude of the Chinese painting, imitation, chasing, fantasy...... But withthe real life too far away, so we should take this attitude change, fromimitation to reality from fantasy to sense "," to seek a new poeticChinese painting, the new old "," to the performance of the newpainting". Huang Binhong is in "on" the future Chinese artarticle aware of "Western painting, also by the impression ofabstractions, and points for things Artistic skill gradually lines, reach,Gradually fit with the East".
郎世宁的绘画是典型的中西结合,他的作品康熙看后,把宫廷画院院长邹一桂找来,让他品评。邹一桂看后说:“工则工矣,不入品评。”意思是说,画得很像、很细,但是不值得去品评,也可理解为不能品评(郎世宁的作品虽然画工精致,但是缺失中国传统文化,而不能评为好的中国画)。
Lang Shining'spainting is a typical combination of Chinese and western, his works afterKangxi, the palace painting Dean Zou Yigui to come, let him comment. Zou Yiguilooked up and said, "Good painting, No not participate in theevaluation." It is said that the painting is very like, very fine, but notworth going to participate in competitions, can also be understood as not judge(although painters Lang Shining's works fine, but the lack of China traditionalculture, but not as good China painting).
不可否认,“西风东渐”,对中国画“形质色彩”等等的技法,确实有所丰富;但是,因为中国画的外形,而放弃中国画的灵魂(“形而上”)——诗情画意(中国传统文化底蕴)就不值了;这是民族的不自信所造成的;这样的“民族自卑”已经伴随中国画一百多年了!已经使中国画的“元气”大伤了,如果不及时补救,我之国粹——中国画必将沦为西洋画的“附属品”而真正的殇夭了……!
Can not bedenied, "the spread of Western influences to the East" on the"Shape color" and so on Chinese painting techniques, has abundant;however, because Chinese painting form, and give up Chinese painting soul("shape Above of Thought poetic Chinese (painting) - China traditionalculture) is not worth; this is not the nation confidence caused by; such"ethnic inferiority "already exists China painting for more than and 100years! Has China painting "vitality" big break, if not timely remedy,The quintessence of Chinese culture - Chinese painting will become westernpainting "accessories" and the real war died......!
此绝非笔者的危言耸听:2014年9月12日晚上八点多钟,中央电视台《书画频道》播出了“庆祝开播八周年”的节目,节目邀请了中国画院副院长卢禹舜,中国美协秘书长徐里,中国美术馆研究员、研究部主任美术评论家刘曦林,艺术批评家,独立策展人。中国艺术研究院美术史博士朱其等谈到中国画的发展时,都认为当代中国画已经“欧化”——考美院,中国画系也与油画系的考试科目是一样的考素描、色彩,而中国画的“必备”书法、白描、古诗词、古汉语等等全是空白……;现在,让美院教师(授)教授“题画诗”,也是不现实的……。
This is notalarmist Author: September 12, 2014 at eight o'clock, CCTV "Paintingchannel" broadcast "to celebrate the eight anniversary of the launchof the program, the program has invited China academy vice president Lu Yushun,Chinese association secretary general Xu Li, director of the researchdepartment, Art Museum of China art critic Liu Xilin, art critic andindependent curator. Chinese Art Institute of art history, Dr. Zhu Qi talkedabout the development of Chinese painting, contemporary painting has beenconsidered Chinese "Europeanization": an Department of Chinesepainting and academy, oil painting exams are the same test sketch, color, andChinese painting "must have" discipline of calligraphy, lyrics,poems, ancient Chinese everything is blank...... Now, let the teacher; Academyof fine arts professor writing "Poems", it is not realistic.......
伟大的教育家蔡元培指出:“西画近建筑(理性的,以描摹客观物象为重点),中国画近文学(感性的,以借物抒怀、诗情画意为本源)。”即:西方的绘画近似建筑一般的理性——写实性强;是客观事物的模仿(描摹)。而中国画是近乎文学作品一般的个性强烈,宋以来,诗画一律的观点成为主流。苏东坡称王维:“诗中有画,画中有诗”。诗,不直白,以比兴手法抒心志创设境界,这需要丰厚的文化积淀。画贵有诗意,自宋以来成为风气,优秀的国粹我们必须传承。追求“形而上”的,精神上的东西:艺术化的客观事物(超然物外、不受具体物象的束缚),因而达到“借景抒情、托物言志”的目的——来源于生活,而高于生活(是生活的提炼,是情感的宣泄)。
China great educator Cai Yuanpei pointedout: "western building (near rational, to describe the object as the key),China (literature draws near sensibility, Borrow Shuhuai, poetic Chinesepainting origin)." That is to say, the western painting is similar to thegeneral rationality of architecture, which is the reality; it is the imitationof objective things (Sketch). The Chinese painting is almost a generalliterature strong personality, since the Song Dynasty, the mainstream view ofpoetry and painting are. Su Dongpo Wang Wei said: "Painting-in-poetry,There is poetry in a painting". Poetry is not straightforward, thecreation of metaphor to express spirit realm, which requires rich culturalheritage. Draw your poetic, since the Song Dynasty as a whole, we must inheritthe quintessence of excellence. The pursuit of "metaphysical", thespirit of things: the art of the objective things (not bound, be free fromthings of the world of specific objects, and thus achieve the "take)advantage of a scene to express one's emotion, Material support Ambition"- from life than life (which is a refinement of life, emotional catharsis).
“绘画到此境则一切夹杂物涤荡尽矣,宛如剧中之能,无毫末之诈罔,无取悦低级看客粗笨显著之美。物象不过假借而已,倪迂之竹,非麻非芦任人呼之,仅仅假竹以写胸中之逸气耳。于是可知离却自然,即为归着美术本质之进步。”(绘画到此境界,已经消除了“功利、是非”等等的一切杂念啊!就像是故事剧中的教育功能,没有一点点的欺骗,不用讨低级看客的喜欢而故意做作的漂亮。世间万事万物的物象,不过是假借它的形体而已;倪瓒画竹,不是麻草,也不是芦苇,可以任人呼之欲出的;倪瓒仅仅是借画竹来抒发自己对世间美好生活的向往,或表现出虚心向上、刚正不阿的情怀呀!于是我们可以看到:“中国画”的表现,不是“照搬、描摹”自然界万事万物的具体形状,而是在抒发自身的情怀;这样才是回归到美术本质的进步。)
This painting realm, has eliminated the "non utilitarian, is everything" and so on! As the educational function of the story, not a little bit of cheating, no love for low-level and deliberately contrived beautiful spectators. Everything in the world of images, but it is under the guise of form only; Nizan draw bamboo, hemp grass is not, nor can anyone out of reed, just borrow; Nizan draw bamboo in the world to express their longing for a better life, or showing modest upward, upright and outspoken feelings! So we can see: "China painting" performance, the specific shape is not "copy, imitation" everything in nature, but express their own feelings; this is the return to the essence of art progress.
站在世界艺术之林里,中西方绘画并无高低之分,都是文化的产物;都是人类对大自然、人类社会的思索、表现、思考(探求)的方式而已;只是所表现方式的不同:如果把西方绘画比喻为“白雪”,把中国画比喻为“梅花”的话,那么宋代诗人陆梅坡的诗句便解答了二者间的关系:“梅须逊雪三分白,雪却输梅一段香”。(诗的后两句巧妙地托出二者的长处与不足:梅不如雪白,雪没有梅香,回答了“骚人阁笔费评章”的原因,也道出了雪、梅各执一端的根据。读完全诗,我们似乎可以看出作者写这首诗是意在言外的:借雪梅的争春,告诫我们人各有所长,也各有所短,要有自知之明。取人之长,补己之短,才是正理。这首诗既有情趣,也有理趣,值得咏思。)
Stand in theforest of world art, Chinese painting and Western painting are equal, is theproduct of culture; is of human nature, human society, thinking, thinking (seekways) only showed different ways:If the westernpainting metaphor for the"Snow", the China painting metaphor for the"plum", the SongDynasty poet Lu Meipo verses will answer therelation among the two: "Plumblossom is not comparable to the white snow,but the snow has lost a plumfragrance". (after the two poems skillfullyout two strengths and weaknesses:Mei as snow white, snow is not about"Comments on the, said excellentarticles by the cultural people",also out of the snow, according to oneplum. Read the poem, we can see theauthor to write this poem is: borrow Whitesnow and The meaning is implied.plum blossom, warned us also to have each onehas his good points, each man hashis limitations, Know one's limitations.Overcome one's shortcoming by learningfrom other's strong points, is right.This poem Both fun, but reasonableinterest, Worth thinking.) also

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”。
Each nation'spainting has its own characteristics, on behalf of the national culture ChinaChina painting is a "poetry, calligraphy, painting Chinese" Chinacultural characteristics, which is the fundamental Chinese painting; itshighest is "poetic Chinese painting".
诗书画印的完美结合,己成为民族血脉,这需要向真正有民族责任感和民族文化危机感的人谈论,绘画得力于文化的内涵,他的艺术魅力就被大大的扩充了。远不是昔日师徒相传的工笔重彩所能比拟。单纯地把中国画当成一种技术来评价,从而使中国画丧失了它的丰厚的文化底蕴。中国画核心价值是文化价值的最终体现。绘画是文化的载体,文化升华了绘画的表现。审美属性使传统中国画的创作和鉴藏,都是基于超乎功利的精神领域的,同时,这种超乎功利的创作和鉴藏方式也在不断地纯化着中国画的独特文化价值。中国画是文化人的事情,不是任何会画画的中国人都能成为中国画画家的。
Theperfectcombination of poetry, calligraphy, painting, seal and so on Chineseart, hasbecome a national blood, this need to have real sense of responsibilityfor thenation and the national culture sense of crisis, people talk about,thanks tothe cultural connotation of painting, his charm was greatly expanded.Not farfrom the former apprenticeship claboratestyle can match. Chinesepainting as atechnology to evaluate, so that Chinese painting lost its richculturalheritage. The core value of Chinese painting is the ultimate embodimentofcultural value. Painting is the carrier of culture, culture sublimation oftheperformance of painting. The aesthetic attribute enables the creationandidentification of traditional painting China reservoir are based on beyondtheutilitarian spirit field, at the same time, the more utilitarian creationandappreciation in a way also purified painting unique cultural valueChineseconstantly. Chinese painting is a cultural thing, not all the Chinesepeoplecan draw Chinese painting artists.
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……;诗情画意也是世界美术的发展方向。(顾绍骅的艺术思想)
The developmentof Chinesepainting must be in accordance with the "China" - inChinatraditional culture (poetry, calligraphy, painting Chinese) as one ofthe"poetic Chinese painting" - is China painting soul and Chinapaintingdevelopment direction...... Poetic Chinese painting is also thedevelopmentdirection of world art.(Gu Shaohua's artistic thought)
如今,复兴我国传统文化、匡复中国画,提高我国文化软实力,正是我们万众一心的同一个中国梦;我们责无旁贷,从我做起,从现在做起!相信中华民族崛起、强盛,就在“明天”!!!
Today, therevival of Chinese traditional culture, Kuangfu China painting, to improveChina's cultural soft power, it is the same Chinese we dream we are duty bound,million people united as one man; begin from me, start from now on! Believethat the rise of the Chinese nation, strong, in the "tomorrow"!!!
(欢迎批评、指导、交流!)
Welcomecriticism, guidance, communication!



  



欢迎关注!(扫描下面二维码)




您的转发是对我最大的支持!


最新评论

回顶部