双语版·媚俗毁坏当代“中国画”

 

 ---------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 ～.

 

 

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”。

 

 

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： 

  

 

  

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!

 

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"!

 

而现在(修养不足)，中国画与书法的关系已经不像古代绘画那样紧密，中国画对于书法基础的依赖也不像古代那样成为一种必须，中国画不仅在基础上游离于书法之外，而且在审美上、品评上也脱离了书法的规范。中国画在20世纪的发展逐渐西方化的过程中，伴随着书法在当代失去公众性的整体走向，也逐渐脱离了书法的基础，而由此建立起了一种与当代审美相应的造型的基础。由于很多画家的目光短浅、修养浅薄，有的虽然技法炉火纯青，却达不到文人画直抒胸臆的境界，东拼西凑的题跋更让作品多了俗气。

 

Now (on the Chinese traditional culture of learning is not enough), the relationship between China painting and calligraphy is not ancient painting so closely, Chinese painting to calligraphy based Interdependence, unlike the ancient that has become a must, China painting not only on the basis of not in calligraphy, but also out of calligraphy in the aesthetic standard, comment on. In the process of the gradual development of Chinese painting in the twentieth Century, with the loss of the overall trend of the public in contemporary calligraphy, calligraphy gradually broke away from the basis of calligraphy, and thus established a foundation of the corresponding form of contemporary aesthetics. Because many painters shortsighted, cultivation of shallow, although some consummate techniques, but not up to the literati painting straight from the heart realm, the more let works put all sorts of things together and the vulgar.

 

其余的原因还有：

 

1、画家已经不擅书法；

 

2、以西方绘画为结构方式的画面中已经不容书法的加入；

 

3、不求意境的当代国画审美也不需要“画之不足，题以补之”。

 

因此，当代中国画的主流样式中，题款的方式已经退居到次要的地位。书画在历史上同源、同法，现在已经分道扬镳。

 

 

西方的优秀文化要吸收，但并不是说每个西方人都是和善的。不然的话，也就不会出现布鲁诺为了坚持当时的真理-“日心说”，而被用“地心说”来进行统治的教会用火活活烧死；也不会出现一个德国教授在大教室里洋洋自得地说：我们20%的人口使用80%的能源，你们80%的东方人只使用了20%的能源。他不是在思考怎样去帮助80%的东方人去使用更多的能源。

 

The good culture of the West needs to be absorbed, but not every Westerner is kind. Otherwise, it will not appear when the truth of Bruno in order to adhere to the "heliocentric", and used the "geocentric" rule, the church put him to death by fire; there will not be a German professor in the big classroom very pleased with oneself: 20% of our population using 80% energy, you use only 80% of those in the East 20% of energy. He's not thinking about how to help 80% of the Orientals use more energy.

 

“当代中国画”在西方绘画的特性下，只有客观物象性，即：形象科学、设色自然，的光影效果，而缺乏中国画“与生俱来”的人文性，即：诗、书、画于一体；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，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）。因而，会按照中国传统文化的方式来表现。

 

"Contemporary Chinese painting" in the characteristics of the western painting, only the object, namely: image science, natural color, lighting effects, "China contemporary painting", the lack of Chinese painting "innate" humanities, namely: poetry, calligraphy and painting in one; the great educator Cai Yuanpei pointed out: "western painting (near the building is rational, to describe the object as the key), Chinese Painting (close to the literature is emotional, with To express feelings with the description of objects, poetic quality Chinese painting source)." That is to say, the western painting is similar to the general rationality of Architecture - realism is strong; it is the imitation of objective things (description). The China painting is almost a general literature strong personality, artistic (objective things, bound not to be free from things of the world of specific objects, thus achieving) "lyric by King", "the purpose comes from life than life (which is a refinement of life, emotional catharsis). Therefore, it will be expressed in the way of Chinese traditional culture.

 

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。2、“扬州八怪”之一的郑板桥一生爱竹、画竹他在《竹石》诗中写道：“咬定青山不放松，立根原在破岩中；千磨万击还坚劲，任尔东西南北风。”他以竹自喻、刚直不阿。可见，好的题画诗可以使画的意境更加深邃，主题更加突出有意义，甚至达到点石成金、化腐朽为神奇的作用。3、再如齐白石画作《不倒翁》上题道：“乌纱白扇俨然官，不倒原来泥半团，将汝忽然来打破，通身何处有心肝。”这样的题跋使一幅简单的不倒翁画变得意境深远，意义不凡。如果不是这首诗，画中的不倒翁就显得毫无意义。（摘自《中国画的本质探 下》）

 

 

Chinese painted Writing Chinese characters on Chinese paintings as words of length, can be divided into three categories: long and short style style and hidden style. There are many masters in the history of the long drop of pictures on the screen, they are not only amazing literary talent, calligraphy is terrible. Such as: 1, Xu Wei in the "grape" in the poem: "half a lifetime abandoned Has become The elderly, one Stand there schoolroom Hear the roar of the wind, use brush drawing grape Nowhere to sell, Idle throw in wild Cane vine Field. If put aside the" you poem, just a bunch of grapes. Still What meaning, "One of? 2 the eight wonders of Yangzhou" Zheng Banqiao life love bamboo, bamboo "bamboo" he wrote in the poem: Insist not relax "Castle Peak, Bamboo root growth In the broken rock Bamboo and rock Friction and hit a million times also; strong Whatever, you Insane TheFrom all sides world Storm. He uses bamboo itself and upright. Therefore, good poems can make the painting more profound, more prominent theme has significance, and even reached touch A stone and turn it into gold be able to perform turn the foul wonders, and rotten into the rare and ethereal turn bad into good the role of. - 3, for example, Qi Baishi painting "tumbler" on the title: "head mounted a black gauze cap Hand fan Like a officer, The reasons for not falling out to be a Half Mud, all of a sudden Beaten you To break, Where the body had no heart and liver. Tiba such a simple" make painting changed Bu Daoweng mood far-reaching significance. If not this poem, the tumbler is meaningless. This poem for the soul, Combination of poetry and painting, Exist side by side and play a part together, Make the old and new contrast and complement each other of the traditional culture, has become a classic.  from "Chinese painting A probe into the nature of "）

 

现在，中国画家题跋能力和水平越来越弱，是从何时出现端倪的呢?大约可以追溯到晚清政治的腐朽，国力的积贫积弱，导致中国人不自信的自卑心态越来越重；“五四”新文化运动，之后古体诗衰微，白话文流行，鲁迅曾讲过诸如“米芾山水画毫无用处”的话，画家们从那时起已经出现不注重诗词能力的倾向。当代有的画家书法很差而不自知，连打油诗也写不好却敢于题写长款;有的画家自称为“文人画家”，自己却腹笥空空，乱题一气，不知所云，显得不伦不类。

 

Now, Chinese painter Writing Chinese characters on Chinese paintings ability and level is more and more weak, from when to start? About can be traced back to the late Qing Dynasty, because of the political corruption, the strength of the poor and weak, leading to Chinese self inferiority complex is more and more heavy; "54" new culture movement, after the ancient poetry recession, popular vernacular Lu Xun said, such as "Mi Fu landscape painting useless", painters have emerged tendency ability since then focus on poetry. Some contemporary painter calligraphy is very poor and not knowing, even Limerick would not write long but dare to wrote some artists called "; literati painters", have no Chinese traditional culture,  the empty abdominal organs, a Do not know chaos problem, what oneself or others are talking about, fish nor fowl is Neither.

 

多位学者表示，当代画家普遍缺乏古典文化的修养，这是当下题跋少、烂的主要原因。近百年来中国社会发生巨变，国粹少有继承，进入新时期，许多年轻人熟练掌握外语，却不认识繁体字，读不了古文，对于中国画的内在精神，对于文人画独特的发展脉络没有清晰的认识。想要画好中国画的年轻画家，应该自觉从古文、诗词、书法入手开始补课，加强文化修养，在题跋上也要下功夫。

 

 Many scholars have said that the contemporary artists lack classical cultural accomplishment, now, in the China painting writing Chinese characters, explain the painting, mainly due to fewer words, the level of poor. The changes of social China over the past hundred years, the quintessence of rare inheritance, in the new period, many young people, although master a foreign language, but do not know traditional Chinese characters, read classical literature, the inner spirit of Chinese painting, literati painting for the development of unique is not clearly understood. Want to draw good Chinese painting, young artists, must consciously from classical literature, poetry, calligraphy began to make up lessons, strengthen cultural accomplishment, in the Writing Chinese characters on Chinese paintings also work hard.

 

当代中国画的主流已经不讲究书法的基础、书法的功力、书法的水平，那么，我们来看当代画家的书法，已经很难有上一代画家那样的整体水平。现实的警示，也是一种现实的反思。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“形而上”的，是中国传统文化底蕴的厚积薄发；并非历史图片、写真照片；潘天寿指出：科学固然是对的，但绝对科学却不是艺术，而成自然主义，成了照相了。从根本上来讲，艺术家仍然要凭自己的眼睛、自己的情感来作画，不作造化的奴隶，而要造化在心，变化在手，能察自然变化之神奇，有化天地万物之手段。画家程十发说：“作画追求和真的一样，那不是艺术家而是科学家！”

 

 The mainstream China painting contemporary, does not pay attention to calligraphy calligraphy, calligraphy, basic skill level, so we look at contemporary painter calligraphy, has been difficult to have on the generation of artists that the overall level of. The warning of reality is also a kind of realistic reflection.Each painting has its own characteristics, and on behalf of the national culture Chinese Chinese painting is "metaphysical", is China traditional culture accumulate steadily;Chinese painting is not historical picture, portrait photo;Pan Tianshou pointed out that science is right, but absolute science is not art, and naturalism becomes photography. Fundamentally speaking, artists still have to depend on their eyes, their feelings to paint, not slaves to nature, nature in heart, changes in hand, can observe changes of natural magic, a means of the world. Artist Cheng Shifa said, "painting is the pursuit of truth. It is not an artist, but a scientist."!"

 

本文参考文献:1、《写不好书法，就不是好画家》2、《为何把全国美展办成了工笔画展？》陈迪和

 

 This paper reference literature: 1, "write good calligraphy, it is not a good painter", "why the 2 National Art Exhibition into the painting exhibition? Chen Dihe

 

 二〇一七年十一月十一日星期六