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中国画在20世纪向现代形态转型过程中,以人物画的变化最为显著。此次《北京画院藏人物画作品展》的院藏人物画有两个突出特点:一是作者比重以北京画院建院初期的画家为主,包括徐燕孙、吴光宇、古一舟、尹瘦石、潘浆兹和较晚的周思聪及院外画师陈缘督、蒋兆和、叶浅予、刘凌沧、黄胄等,都是当代重要的人物画家,他们沿着各自的艺术道路,相互增益,和而不同,把人物画创作从低谷推向繁荣。二是所选作品的创作年代相对集中于上世纪60年代前后,恰是人物画创作进入成熟期,呈现一派璀璨景观,一方面显示传统绘画固有的生命力和与时俱进的再生力;另一方面吸取外来营养,丰富了中国画的艺术技巧,表现出巨大的宽容性。
Chinese painting in the 20th century to the modern form of the process of transition, the most significant changes in the figure painting. There are two prominent characteristics of the figure in the hospital of Beijing Museum Paintings: First, the proportion of the author is mainly based on the painters in the early days of the Beijing Academy of Fine Arts, including Xu Yan Sun, Wu Guangyu, Gu Yi Zhou, Yin Shou Shi, Pan Zhaosi and the late Zhou Sicong and the hospital painters such as Chen Yuandu, Jiang Zhaohe, Ye Qianyu, Liu Lingcang and Huangpi are important figure painters in the contemporary era. They follow the artistic path of each other, Creation from the trough to prosperity. Second, the selected works are relatively concentrated in the creation age of the 1960s. It is precisely the portrayal of figure painting that has entered a mature stage and presents a splendid landscape. On the one hand, it shows the inherent vitality of traditional painting and the regenerative power of keeping pace with the times. On the other hand, Absorption of exotic nutrition, enrich the artistic skills of Chinese painting, showing great tolerance.