论文部分内容阅读
在中国美术史上,工笔画作为中国画内部的一个画种,在唐宋时代,因与封建帝王和贵族追求富贵、艳丽的审美趣味相一致而具有至高无上的地位,随着文人画的兴起,水墨至上的观念导致水墨中心主义的出现,工笔画被挤出中心,成为一个边缘画种,一个显而易见的事实是,20世纪大师级的中国画家几乎全是水墨画家,它提醒我们水墨与工笔边缘的二元对立和等级结构仍存在于我们的时代之中必须看到,中国画中的等级结构的形成是中国漫长历史和文化的发展对艺术的形式和意味进行干预选择的结果,具有历史的合理性与必然性,从这一角度看姚舜熙对工笔花鸟画的思考、探索与实践,我想其
In Chinese art history, the fine brush strokes, as a kind of paintings in the interior of Chinese paintings, became paramount in the Tang and Song Dynasties because they were in line with the pursuit of wealth and gorgeous aesthetic taste of feudal emperors and aristocrats. With the rise of literati painting, The notion of cen- tralism led to the emergence of ink-cen- tralism. As one of the obvious fact is that the 20th century masters of Chinese painters in the 20th century were almost all ink painters, it reminded us that the ink-and- The meta-opposition and the hierarchical structure still exist in our times. We must see that the formation of the hierarchical structure in Chinese painting is the result of the long history and cultural development in China that intervenes in the choice of the form and means of art. It is historically rational Inevitability, from this perspective, Yao Shunxi’s thoughts, exploration and practice on the fine brushwork and bird painting