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时至今日中国画并不存在穷途末路的问题,只是一个如何转换的问题。当时李小山提出“中国画穷途末路”的说法本身也不是很具体,那时候他是从西方现代艺术的背景下来认识中国画的,并且对西方现代艺术也存在着误解,认为西方的现代艺术是一种体系的完全创新,实际上只是某一种变化或
Chinese painting today does not have a dead end, but a question of how to change it. At that time, Li Xiaoshan proposed that the saying “the end of Chinese painting is not the end” is not very specific in itself. At that time, he understood Chinese painting from the background of western modern art and misunderstood the western modern art. He thought that western modern art is one The complete innovation of a species system is actually just a certain kind of change or