“水墨40年”参展作品 | 1978-1989 (壹)
北京民生现代美术馆 2019年01月09日 17:13

新中国画

New Chinese Painting

第一单元:1978-1989年 (1)

Chapter I: 1978-1989 (1)

这是一个新启蒙的时代。对文革美术的反思与西学启蒙思潮的相互激荡,引发出新潮美术的浩荡洪流。这一时期,围绕着中国画的传统、现状、前途与命运展开了激烈的论辩,史称“20世纪中国画第三次大论辩”。依托于这个背景,新中国画从文革模式中超越而出,借助于西方现代艺术的形式主义成果,开始了新的变革历程。从国家意识形态回到个人立场,在本体层面上探索、建构中国画的现代形态,是此一时期新中国画发展的大体趋势。同时,以家国情怀为核心的现实主义创作仍在继续,与此前不同的是,现实主义的创作方法、视角、题材、语言都发生了根本性的变化,新中国画的风格、气象也由此一变。上述革命性的转向,不仅改变了新中国画长期以来的单一的写实面貌,也为下一阶段探索做了很好的铺垫。 (张晓凌)

This is a new era of enlightenment. Reflections on art during Cultural Revolution were clashing with western enlightenment movement, inducing a grand new trend of art development. During this time, there were heated discussions over the tradition, status, future, and prospect of Chinese painting, which is historically known as “the third grand debate over 20th century’s Chinese painting”. Against this background, new Chinese painting rose above the Cultural Revolution mode and entered into a new phase of development with the influence of formalism in western modern art. Returning from state ideology to individual perspective and exploring and constructing Chinese paintings’ modern forms on an ontological level were the mainstream for development of that time. Meanwhile, realism revolving around patriotism was also developing. Contrary to previous period, this realism underwent fundamental changes in its creation method, perspectives, themes, and language, which resulted in an overall change in the style and mode of new Chinese painting. The above revolutionary transformation not only changed the long-standing monotonous realism tone in new Chinese painting but also set a good foundation for the exploration in the next stage. (Zhang Xiaoling)

朱纪瞻《秋艳》
纸本水墨 137cm×67cm 1979 中华艺术宫藏 朱纪瞻《秋艳》 纸本水墨 137cm×67cm 1979 中华艺术宫藏

刘海粟《荷花》
纸本设色 127cm×66cm 1979 中国国家画院藏刘海粟《荷花》 纸本设色 127cm×66cm 1979 中国国家画院藏

黄君璧《万壑松涛》
纸本水墨 69x136cm 1985黄君璧《万壑松涛》 纸本水墨 69x136cm 1985

李苦禅《白鹰》
纸本水墨 136cm×69cm 1977李苦禅《白鹰》 纸本水墨 136cm×69cm 1977

关良《今日欢呼孙大圣》
纸本水墨 138cm×69cm 1978 中国国家画院藏关良《今日欢呼孙大圣》 纸本水墨 138cm×69cm 1978 中国国家画院藏

李可染《千岩竞秀万壑争流》
纸本水墨 130cm×69cm 1978 中国国家画院藏李可染《千岩竞秀万壑争流》 纸本水墨 130cm×69cm 1978 中国国家画院藏

吴作人《牧驼图》
纸本水墨 68×92 1977 吴作人国际美术基金会藏吴作人《牧驼图》 纸本水墨 68×92 1977 吴作人国际美术基金会藏

陆俨少《巫峡云涛》
纸本设色 176cm×94cm 中国国家画院藏陆俨少《巫峡云涛》 纸本设色 176cm×94cm 中国国家画院藏

谢稚柳《翠崖》
纸本水墨 68cm×44cm 中国国家画院藏谢稚柳《翠崖》 纸本水墨 68cm×44cm 中国国家画院藏

陈子庄《石鼓山北岭》
纸本水墨 25cm×37.5cm 1974 中国美术馆藏陈子庄《石鼓山北岭》 纸本水墨 25cm×37.5cm 1974 中国美术馆藏

于希宁《梅竹图》
纸本水墨 130cm×68cm 中国国家画院藏于希宁《梅竹图》 纸本水墨 130cm×68cm 中国国家画院藏

黄秋园《庐山梦游图卷》
纸本设色 65cm×641cm 黄秋园《庐山梦游图卷》 纸本设色 65cm×641cm

新水墨

New Ink

第一单元:1978-1989年 (1)

Chapter I: 1978-1989 (1)

此一时段中,很多艺术家面临的重要艺术问题是:在粉碎“四人帮”以后,如何有效超越“文革”式的极左创作模式、传统水墨的创作模式与由徐悲鸿创立的写实水墨的创作模式,以实现水墨创作的现代性转换。资料表明,当时很多艺术家的策略是将传统水墨的线墨表现体系与西方现代主义的观念或表现元素相嫁接,结果出现了很多新的解题方案与相关作品。具体说,很多作品,无论是在题材与观念方面,还是在图像、构成与笔墨表现方面都有全新的探索。(鲁虹)

In recent years, many artists are faced with a critical question of art: after the crushing down of “Gang of Four”, how can we effectively go beyond the creation mode of leftist Cultural Revolution time, of traditional ink painting? How can we go beyond the realistic ink painting school established by XU Beihong to enable a transition of ink painting into modernity? According to relevant documents, many artists were trying to marry the line and ink presentation system in traditional ink painting, with notions and presentation elements in Western Modernism, and numerous new solutions and new pieces of work have been emerging as a result. To be more specific, many works were showing brave new explorations in various aspects including image, construction, and stroke treatments, etc.(Lu Hong)

周思聪《矿工图  王道乐土》
宣纸水墨 177×236cm 1983 周思聪《矿工图 王道乐土》 宣纸水墨 177×236cm 1983

沈勤《师徒对话》
纸本设色 124×151.5cm 1985
沈勤《师徒对话》 纸本设色 124×151.5cm 1985

蒲国昌《赶场》
纸本水墨 68cm×68cm 1985蒲国昌《赶场》 纸本水墨 68cm×68cm 1985


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