中国绘画（英）

　　“中华之美”丛书围绕中华优秀传统文化这一主题，择取其中15个专题分别加以介绍。这15个专题，包括以思想、智慧、艺术为主的“无形遗产”，以工艺、器物为主的“有形遗产”，以衣食住行乐为主的“民俗生活”，它们精心构架，有机结合，勾勒出中国文化的一个总体面貌，并反映出“中华文化的理念、智慧、气度、神韵”。 中国传统画是中国五千年灿烂文明的重要内容，这种以毛笔、墨、绢纸为主要工具、以点线结构为主要表现手段的造型艺术有着深厚的传统和极其独特的民族风格。而20世纪的中国绘画则体现了中国艺术从传统走向现代的发展进程，反映了对西方艺术的引进、吸收和中西艺术的碰撞、融合等多种复杂形态。随着中国绘画作品在重大国际艺术品拍卖会上身价迅速攀升，越来越多的外国人对中国绘画艺术产生了浓厚的兴趣。本书一改过去作品鉴赏的写法，突出绘画艺术与中国文化的密切关系，讲述绘画语言、画家、画风背后的文化故事。 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，毕业于浙江美术学院和中国艺术研究院，现为中国艺术研究院美术所研究员，长期从事艺术史和视觉艺术研究。 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.