摘要
笔墨问题之所以成为国画研究的老问题,实因它是国画最本质、最核心的问题。它不仅是国画最重要的表现语言,是画家审美情趣、绘画观念的承载体,也是分析作品、评论画家的基本尺度。笔墨随时代的发展而发展,在不同历史时期与不同阶段差异显著,并不断完善和成熟。当代美术教育工作者将什么样的笔墨观念传授给学生,这既与国画教育者对笔墨的认识有关,与教育者的审美追求、对中国画的理念相联系,还与教育者的绘画实践相关联。当代中国画笔墨传承应本着开阔的胸襟,允许多元化的探索,探求多样化的路径。具体到教学中应以理论为指导,以学生临摹为基础,以写生作为验证笔墨的途径。
Pen-and-ink seems to be an old topic but is in fact the most essential subject in Chinese painting studies. This is because it is not only the language of expression, aesthetic taste and carrier of painting conception of Chinese painting but the primary measure of analyzing and criticizing painting works. The pen-and-ink of Chinese painting develops as the time goes and presents prominent distinctions in different phases of history and becomes constantly perfect and mature. To carry forward the tradition of pen-and-ink of Chinese painting we should allow ex- ploring multi-variant attempts and seeking multiple means with an open mind.
出处
《陕西师范大学学报（哲学社会科学版）》
CSSCI
北大核心
2014年第1期147-151,共5页
Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)
基金
陕西省社会科学基金项目(08 K007)
关键词
中国画
国画教育
笔墨
临摹
写生
Chinese painting
education of Chinese painting
pen-and-ink
copy
painting from nature
