中国当代油画写生偏论

Contemporary Chinese Oil Paintings

写生是一个写实画家必须恪守和坚持的基本视觉逻辑和工作方式。对写生重要性的认识如果不进入到西方绘画观看逻辑及其所属的视觉文化的层面,则可能会停留在对写生和写实绘画认识的表面。在这个逻辑当中,所谓绘画就是:把直接观看到的对象(而非图像)转换成画面。换句话说,全程被动依赖图片制作出的所谓写实绘画其实不是绘画,至少是"可疑的绘画"。西方美术史绘画样式演进背后的逻辑根源是观看方式的改变以及对观看方式所做出的种种思辨和挑战,而不应该是为"样式而样式"的结果。因此,回到现场直接而诚恳的观看的重要性就不言而喻了。文章试图针对近年中国当代写生热潮中存在的对西方绘画传统观看逻辑的忽略,以及普遍的样式化、色彩的简单化和片面追求笔墨意趣的民族化诉求等现象做出自己的反思。

Sketch is a basic visual logic and working way that must be abided by and persisted by a realistic painter. The understanding of the importance of sketching, if not entering into watching logic for Western painting and the level of the visual culture to which it belongs to, may also remain on the surface of the understanding of sketching and realistic painting. In this logic, the so-called painting is converting the direct view of the object（rather than the image） into a picture. In other words, the so-called realistic painting, which is passively dependent on the picture and is produced in the whole process, is not the painting, at least the ＂suspicious painting＂. The logical roots behind the evolution of the Western art history are the changes in the way of viewing and the speculation and challenges of the way they are viewed, rather than the result of ＂style and style＂. Therefore, the importance of returning to the scene directly and sincerely is self-evident. This paper attempts to make a reflection on the Chinese contemporary neglect of the traditional view of western painting in sketch of writing, the generalization of style, simplification of color, as well as the one-sided pursuit of nationalization of pen and ink in recent years.