论文部分内容阅读
20世纪中国工笔花鸟画的发展,在承继与融创中绵延拓进,一方面普遍取法宋元花鸟画风格,以写生、默记来师法造化,另一方面注重提高造型能力与视觉张力,曲尽精微地描绘对象情态,同时兼顾艺术与现实生活和时代风尚的关系,汇成了一条丰富而瑰丽的丹青文脉。在20世纪上半叶南北画坛的工笔花鸟画大家中,从吸收宋代院画传统、讲求勾勒与赋色之堂皇气象的于非闇,到继承元人设色工笔传统、营造清丽抒情意境的陈之佛,再到从陈老莲之风力追宋人传统、兼善工写花鸟画的张
In the 20th century, the development of Chinese fine brushwork and bird painting progresses continuously in succession and integration. On the one hand, it generally takes the style of bird and flower painting in the Song and Yuan dynasties as a symbol of life and life. On the other hand, it focuses on improving the modeling ability and visual tension, Quietly portray the modality of the object, taking into account the relationship between the art and the real life and the fashion of the times, merged into a rich and magnificent Danvin culture. In the first half of the 20th century, the great painters and painters of the Northern and Southern Painting Bureaus, from absorbing the tradition of traditional Chinese painting and calligraphy in the Song Dynasty, emphasizing the grandiose atmosphere of drawing and coloring, to inheriting the traditional custom of making painters’ , And then to the wind from Chen Laolian chase the Song tradition, and good works of birds and flowers to write Zhang