中國繪畫（英）

　　“中華之美”叢書圍繞中華優(yōu)秀傳統(tǒng)文化這一主題，擇取其中15個專題分別加以介紹。這15個專題，包括以思想、智慧、藝術(shù)為主的“無形遺產(chǎn)”，以工藝、器物為主的“有形遺產(chǎn)”，以衣食住行樂為主的“民俗生活”，它們精心構(gòu)架，有機結(jié)合，勾勒出中國文化的一個總體面貌，并反映出“中華文化的理念、智慧、氣度、神韻”。 中國傳統(tǒng)畫是中國五千年燦爛文明的重要內(nèi)容，這種以毛筆、墨、絹紙為主要工具、以點線結(jié)構(gòu)為主要表現(xiàn)手段的造型藝術(shù)有著深厚的傳統(tǒng)和極其獨特的民族風格。而20世紀的中國繪畫則體現(xiàn)了中國藝術(shù)從傳統(tǒng)走向現(xiàn)代的發(fā)展進程，反映了對西方藝術(shù)的引進、吸收和中西藝術(shù)的碰撞、融合等多種復雜形態(tài)。隨著中國繪畫作品在重大國際藝術(shù)品拍賣會上身價迅速攀升，越來越多的外國人對中國繪畫藝術(shù)產(chǎn)生了濃厚的興趣。本書一改過去作品鑒賞的寫法，突出繪畫藝術(shù)與中國文化的密切關(guān)系，講述繪畫語言、畫家、畫風背后的文化故事。 Traditional Chinese painting was fundamentally an abstract art form. Although there were no absolute abstract Chinese paintings in its original meaning， objects in a painting were not a direct copy of the nature world following the principle of perspective. It was rather a combination or harmony between the nature world and human emotion， a product of “heaven （nature） and human”. The effect Chinese painters would like to illustrate in their paintings was not a visual effect of colors and patterns as their Western counterparts would like to achieve. The description of objects in their paintings was no means accurate and few concerned about such factors as colors， principle of perspective， anatomy， surface feel， and relative size. What they would like to achieve was a world in their mind of non materials. The nature world was not an object for them to make a true copy and it was rather elements for them to build their own world.

　　林茨，畢業(yè)于浙江美術(shù)學院和中國藝術(shù)研究院，現(xiàn)為中國藝術(shù)研究院美術(shù)所研究員，長期從事藝術(shù)史和視覺藝術(shù)研究。 Lin Ci， original name Zhang Qian， graduated from the Zhejiang Academy of Art and China Art Research Institute， where he earned an M.A. degree. He was a research fellow with China Art Research Institute， specializing in art history and visual arts. His major books include Accordion Pleated Skirts， Gospel Valley， and Mango Trees.