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在中国的文化符号里面,当“云”、“水”相连的时候,如古琴曲“潇湘水云”,往往让人有一种迷朦宁静的联想,然而当代国画中的“陆家云水”却以澎湃激昂的境界震人眼目。这样的境界是怎么来的?让我们随着谷泉的提问来听听舒士俊的说法。“人物”在今天的国画园地里,当以怎样的面目和地位来证明自己的存在?在我们展示并且欣赏着“本期名家”王伟的作品时,不妨再想想类似的问题。本期的“学院作品”出自中国戏曲学院舞台美术系的教师之手,从中我们可以关注一下中国当代的舞台美术教育,以及舞台美术家们如何呈现自身在架上绘画方面的创作状态。与比较边缘化的舞台美术家们不太一样,中国当代的画院画家一直很“热”。为他们来一次集体亮相如何?中国画研究院提名展本身也想作这样一番尝试。
In China’s cultural symbols, when the “cloud” and “water” are connected, such as Guqin “Xiaoxiangshuiyun”, people often have a kind of quiet association, however, the contemporary Chinese painting “Lu Jianyun” Sentimental realm of shock surging eyes. How does such a state come from? Let us listen to Shu Shijun’s argument as Guquan queried. What kind of face and status prove the existence of “People” in today’s traditional Chinese painting field? When we show and appreciate the works of Wang Wei, the famous contemporary artist, think of similar questions. This issue of “Academy Works” comes from teachers in the Stage Art Department of the Chinese Academy of Drama, where we can look at the contemporary stage art education in China and how the stage artists present their own creative state in frame painting. Unlike the more marginalized stage artists, contemporary Chinese painters have always been “hot.” For them a collective appearance? Chinese Academy of Painting nomination exhibition itself also want to make such an attempt.