二十世纪末美术界“张吴之争”分析与研究

20世纪末美术界的张吴之争,主要围绕吴冠中先生的笔墨等于零思想、张仃先生守住中国画的底线以及二人争论的焦点——笔墨展开讨论,最终深化为一场激烈的学术论辩。这场学术论辩的参与者大致可以分为四个阵营:以张仃、关山月、潘絜兹等老画家为代表的口号派,认为笔墨是中国画安身立命的根本,否定了笔墨也就否定了中国画;以郎绍君、洪惠镇、陈传席等为代表的传统派,对于笔墨等于零思想的论点、论据进行一一反驳,并且立足本源对笔墨进行概念上的阐释,试图确立其在中国画艺术体系中的重要地位;以董欣宾、赵绪成、薛永年、李兆忠、孙力军等为代表的客观派,试图以客观的姿态对待吴、张思想,指出其中合理与不合理的成分,继而进行价值判断和详细探讨;以吴冠中、翟墨、林木、水天中等为代表的革新派,在承认笔墨的文化内涵的前提下,更强调其所具有的造型功能,积极思考现代语境下中国画笔墨的创新与发展问题。张吴之争的本质是针对全球化浪潮中发展中国画要不要重视传统基因——笔墨,以及要不要保持国画的边界问题而展开的学术论辩,对新世纪中国画的发展之路提供了重要的借鉴。

Analysis and Research of Twentieth Century's Debate Between Zhang-Wu

At the end of the 20th century, Debate Between Zhang-Wu in the Fine Arts' World mainly involves the thought of Wu Guanzhong's brushwork equals zero and Zhang Ding's claim of Keeping the baseline of Chinese painting as well as the focus of their argument on brushwork, which eventually grows into an intense academic debate. According to the different viewpoints on those ideas and thoughts, participants in this academic debate could be divided into four camps: (a) Slogan school, represented by Zhang Ding, Guan...