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作为20世纪中国画中西融合一路的开拓者之一、建国初期中央美术学院山水画教学的一代宗师,与其同代画坛名师大家相比,宗其香在中国近现代美术史研究领域并未得到相应程度的关注和认知。从描绘现实民生与战场题材的早期创作,到日臻成熟完善的夜景山水画,再到展现民族风情与南国风物的山水写生,宗其香一生致力于将中国画的笔墨写意风格与现代中国的社会现实、西方绘画的光影表现相结合,由此推进与深化其师徐悲鸿的中国画改良主张。尤其是宗氏夜景山水画的创作与革新,不止于单方向的引西润中,而是面对笔墨传统与现代场景的多向拓展;其创作中对于画境与实景之关联的强化,也为现代中国画现实观照课题提供了有益养分,并在学院教学中得到践行与印证。本文将宗其香置于20世纪中国美术发展进程与中央美术学院的百年历史中,通过图像与文献研究,阐发这一在中国画现代转型历程中被忽视的艺术家个案所透射出的艺术本体价值与美术史意义。
As one of the pioneers of the integration of Chinese and Western painting in the 20th century, one of the great masters of landscape painting at the Central Academy of Fine Arts in the early days of the People’s Republic of China found that Zong Qixiang did not get a corresponding degree of research in the field of modern and contemporary Chinese art history Concern and cognition. From depicting the livelihood of the people and the battlefield theme of the early creation to the maturing and perfect night landscape painting, and to show the national customs and the landscape of southern style sketching, Zong Qi Xiang devoted his whole life to writing style of Chinese painting and modern Chinese social reality, The combination of the light and shadow of Western paintings promoted and deepened the idea of improving his Chinese painting by Xu Beihong. In particular, the creation and innovation of the landscape paintings of Zong’s Night Landscape are not limited to the one-directional introduction of West landscapes, but also to the multi-directional expansion of the tradition of pen and ink and the development of modern scenes. The enhancement of the connection between the landscape and the real scene in his creation is also the modern Chinese realistic painting subject provides a useful nutrition, and practice in the college teaching and confirmed. In this article, Zong Qiuxiang was placed in the process of Chinese art development in the 20th century and the centennial history of the Central Academy of Fine Arts. Through the study of images and documents, this article expounds the value of the artistic noumenon and the value of the artistic body which is neglected in the process of the modern transformation of Chinese painting Art history significance.