| 摘要: | 以目前趨勢來看，不管是中西畫都出現了一個危機，那就是漸漸遠離了正統的繪畫途徑，走向所謂的創新路缐，挖空了心思想出一些奇招異術，把畫面製造的奇裝異飾，定出個題目號碼，或寫上個無題，交差了事。
有位藝術家在展覽會上展出了一張空白畫布，造成了轟動，打響了名聲。是不是每次展覽都拿出空白布作爲他的畫風呢？欣賞者當然也可以到畫具工廠買塊畫布，掛在墻上自賞。
之所以有這些虛無縹緲的現象，該歸咎於所紮的根基不夠深也不夠廣。多讀一份書籍，多幾分經驗閲歷，固然可以增強寫作能力。但若想畫出好畫，則必須再增加一層藝術的基礎歷練，西洋畫是素描為基礎，國畫叫做白描，基礎愈深愈能發揮儲備的創意能力。
目前的趨勢，之所以創作難產的原因就是學識基礎浮而淺，藝能基礎不紮實，才讓藝術的熱浪漸漸走向了怪力亂神的黑潮。
難怪諾貝爾獲獎團體在巴黎會議宣言時說：人類要在二十一世紀生存下去，必須到兩千五百年前的中國孔子那裏去尋找智慧。
本論文《孔子思想與啓蒙藝術》以由淺入深的方式提出多元性的繪畫題材，作爲輔証，提出六個章次作爲探討。第一章，以藝術方向導引作爲重點；第二章，以孔子論述與詩歌舉出詩書畫三位一體的範例；第三章，再以舉一反三的理論增強信心；第四章，以切磋琢磨闡釋繪畫形制；第五章，提示啓蒙藝術的淵源與重要性；第六章，以個人的作品作爲效果的評量。
我們可以相信，這篇論文能讓思維路缐擴大，能讓繪畫能力增強，不會以“無題”代替畫題，更不會以“無畫”代替繪畫。
Nowadays, a crisis for both Chinese and Western Painting comes out, that is, the drawing way of either types has moved from legitimate way to so-called “ innovation way of painting ” gradually. Some people pay a lot of attention trying to find out some “ fantastic ” ways of expression, leaving the picture strange and odd; and they sometimes set some topic or number or even made “Untitled” as the painting name.
One artist once displayed a blank canvas at an exposition, which brought him stir and fame. But, can he display a blank canvas at every exposition to announce that this is his painting style? Maybe then all the audience need to do is to buy a blank sheet himself in a painting tool shop and hang it on the wall for watching.
The reason why such illusory phenomena exist ought to be classified to the shallowness of the painter’s art foundation, neither deep enough nor broad enough.
An illiterate person certainly cannot write an article. Read more, experience more, the article will have deeper thoughts naturally. But if the same situation happens in art, it is true that more efforts are needed.
Undoubtedly, to read a lot of books can improve the ability of writing, but it is not so definitely that he can draw a good painting. An additional layer of fundamental training is needed. For western painting it is based on sketching while for traditional Chinese painting it is based on simple and straightforward painting (Bai Miao). The deeper the foundation is, the more powerful the reserve of inspiring ability can be.
As I see from the current trend of the painfulness of birth of creative painting, the shallowness and superficial of the painter’s knowledge is the main cause. It is the unstable basis of art that has brought the hot wave of art to such confusing black current.
So don’t be surprised by the Nobel laureates’ Paris meeting announcement: If the human beings want to live in the 21 century, they have to seek wisdom from the Chinese Master Confucius, who is dated back to 2,500 years ago.
This paper, Confucius Thesis and Enlightenment Art, tries to propose some diversity painting topics. As proving process, the article is divided into 6 chapters for deep exploring. Chapter I is mainly about the guidance of the direction of art; Chapter II tries to set the Chinese poem, Calligraphy and painting as an example of Trinity from the standpoint of Confucius exposition and poem; Chapter III is to enforce the confidence by explaining the theory of “Draw inferences from on instance”; Chapter IV is to explain the type of painting by comparing and refining; Chapter V is to point out the origin and importance of Enlightenment Art; Chapter VI is to evaluating the outcomes by my personal paintings.
We can believe that this paper can increase the thinking paths and the ability of painting. I will not set “untitled” as the painting name, nor set a blank sheet substitute the painting. |
