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早在三十年代初,日冠入侵东北,人民横遭涂炭,中华民族命运垂危之际,中国画处境也奄奄一息。多数中国画家借之营名营利,或以之作为结识达官显要的手段,或靠商品画以谋生。明清以来文人画笔墨愈成熟,内容愈空虚。这时,北方青年画家赵望云,以离经叛道的姿态闯入画坛。他以天津大公报记者身份在河北省境内旅行写生,每天在报上发表作品一幅,题材都是北方农村寻常百姓生活不论当时毁誉,这在中国美术史上是件新鲜事,因为文人画从来都没有离开过文人雅士生活大题材或文人雅景小题材,梅兰竹菊,书斋清供,题材非常狭窄。而这时赵望云,得到冯玉祥将军的赏识,以普通劳动者的生活,以冯诗赵画,刻石于泰山。
As early as the early 1930s, when the Japanese crown invaded the northeast, the people were overcrowded and the fate of the Chinese nation was at stake, the situation of Chinese painting was dying. The majority of Chinese painters borrow money from their camps, or use it as an important means of getting to know their superiors or drawing on commodities to make a living. Since the Ming and Qing dynasties, the literati painted more mature, the more empty the content. At this time, Zhao Wangyun, a young painter from the north, broke into the painting scene with a deviant attitude. In his capacity as a reporter for the newspaper in Tianjin, he wrote a travel sketch in Hebei Province. Every day he published a piece of work in a newspaper. The topics are all ordinary people living in rural areas in the north. Regardless of their reputation at that time, this was a novel thing in Chinese art history. Left the literati Asahi life theme or the literati Yajing small theme, Merlin bamboo chrysanthemum, the book vegetarian for, the subject is very narrow. At this time, Zhao Wangyun was appraised by General Feng Yuxiang, taking ordinary laborers’ life, taking Feng Shi Zhao painting and carving stone in Taishan Mountain.