线上展览（五）传统与创新｜国际视野下的中国绘画——中国国家画院作品交流展（荷兰展）|中国国家画院|中国画|中国绘画|刘万鸣|张江舟|田黎明|画家|艺术

part.5 传统与创新

中国画成熟得很早，在魏晋南北朝时期（5世纪）就有了高超的技法和理论，经历一千多年的发展之后，到了17世纪已经形成一整套的表现方法，这在中国画理论中被称为“程式化”。程式意为“标准和格式”，“程式化”的好处是可以为画家们提供一套完整的技法系统；但害处也是显而易见的，那就是会束缚绘画技法的进一步发展。但事实上，在每个朝代比如唐宋元明清，中国画的面貌仍然随着时代的变迁而有所不同，这被清代著名的画家石涛总结为“笔墨当随时代”。

实际上，真正和传统拉开距离的时代是20世纪。在经历“西画东渐”和“中西融合”之后，这个时代的中国画在技法上不断吸收外来的方法，风格越来越多样，与传统越来越不同，最终形成我们今天在展览中所看到的面貌。和欧洲现代主义艺术与古典艺术决裂不同，尽管在形态上有了很多不同，中国画始终没有和传统分道扬镳，而是一直使用着宣纸、毛笔和墨、中国画颜料来创作。上个世纪80年代，欧美现代主义的各种思想和表现方式像潮水一样涌入到中国（荷兰艺术家凡高就是在中国艺术界产生重要影响的西方艺术家之一），并被中国画家融入到中国画创作中，这大大改变了中国画的面貌，并使它们更明显地呈现出现代的审美和观念，甚至有的中国画作品更接近现代主义艺术，而不是传统中国画。

今天的中国画家无论技法还是观念都很多元化，特别是在中青年一辈的画家中，吸收现代绘画技法和观念已经司空见惯，而表现的题材也远超过古代中国画。从展示在这里的作品中可以看到，当代的中国画家既表现现实生活，也表现内心世界；既追溯久远的传统文化，也吸收当代思潮。他们的技法没有与传统断裂，但他们的目光投向包括中国在内的整个世界，关注全人类共同关心的话题。他们继承传统，这当然很重要；同时他们也在继承传统的基础上努力创新，这更重要，因为这是中国画在当代仍葆有生命力的秘密。

陈明

Tradition and Innovation

Chinese painting matured early, achieving advanced techniques and theories by the Wei, Jin, and Northern and Southerndynasties (5th century). After more than a thousand years of development, by the 17th century, it had formed a comprehensive set of expressive methods, a process known in Chinese painting theory as “formalization.” The establishment of standards and formats was an obvious double-edged sword: it provided artists with a complete system of techniques while constraining the further development of those techniques. Nonetheless, in each dynasty, such as the Tang, Song, Yuan, Ming, and Qing, Chinese painting had evolved to a certain degree with the times, leading the famous Qing dynasty painter Shi Tao to argue that “brush and ink should follow the times.”

The meaningful departure from tradition didn’t happen until the 20th century. The Western influence on Eastern painting and the Sino-Western fusion saw Chinese painting in this era actively absorb external methods in its techniques, becoming increasingly diverse in style and distinct from tradition. This ultimately formed the prevailing Chinese painting style on display in this exhibition. Unlike the break between European modernist and classical art, Chinese painting, despite many changes in form, had never completely abandoned tradition. For example, it had always been created on xuan paper and used brushes, ink, and Chinese painting pigments. However, during the 1980s, the influx and integration of various ideas and modes of expression from Western modernism (Dutch artist Van Gogh is one of the most influential Western artists in China) into Chinese painting significantly transformed the latter’s character, making it more clearly reflect modern aesthetics and concepts, to the point that some works even resembled modernist art more than traditional Chinese painting.

Today’s Chinese painters exhibit great diversity in both technique and concept. Particularly among the younger generation, it has become commonplace to incorporate modern painting techniques and ideas, and their range of subjects far exceeds those of ancient Chinese painting. As shown by the artworks included in this exhibition, contemporary Chinese artists depict not only real life but also their inner worlds; they delve into ancient traditional culture and absorb contemporary thoughts. Their techniques have not broken away from tradition, but their perspectives have expanded beyond the national borders, focusing on topics of common concern to all humanity. While inheriting tradition is undoubtedly important, striving for innovation on the foundation of this tradition is even more crucial because this very endeavor explains the continued vitality of Chinese painting.

Chen Ming