不以山和水为主的新山水画——以宋文治井冈山写生为例

The Neo-landscape Painting without Focusing on Mountain and Water:with the Jinggang Mountains Sketches of Song Wenzhi as an example

新中国成立后,中国画承担着避旧趋新的历史重托,其中山水画一门任务艰巨。在通常的美术史叙述中,笼统地将此时期的山水画称作“写生画派”,过分强调“写生”,而忽略了“传统”在其中的重要作用。新山水画的确立离不开写生,但并非仅靠写生。宋文治的一批未见发表和研究的“井冈山写生”,便是一个可以用来说明新山水画画面具体处理以及“传统”因素之重要的典型范例。

After the founding of the Peoples Republic of China, Chinese paintings have been regarded as a field where the old must be averted to pursue the new, generating severe challenges on landscape paintings. According to the traditional art history, landscape paintings of this period were tagged as “the school of sketching”, which overly emphasized “sketching” but overlooked the important role of “traditions”. It is true that neo-landscape paintings are tied to sketching, but never have them been solely dependent on sketching. Taking a look at Songs "Jinggang Mountains sketches" that haven't been released and studied, a typical example could be seen that highlights the images of neolandscape paintings and the importance of "traditional" elements.