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在处于西风东渐的二十世纪初,作为中国艺术工作者的徐悲鸿大力提倡中国绘画的改良,引入西方绘画方法,将写实技巧融于中国水墨画之中。因为掺入大量西方绘画的元素,使其作品呈现了不同于传统的中国水墨画特色。对于自1920年至1950年,在中国水墨画界独领风骚的徐悲鸿,其水墨作品是否真与其中国画改良的观点一致?为什么他的作品评价与其历史地位有极大的落差?这些疑问引发笔者研究的动机。本研究就是从徐悲鸿作品所呈现的特点入手,来探析徐悲鸿中国画改良。
In the early twentieth century, Xu Beihong, a Chinese art worker, strongly advocated the improvement of Chinese painting, introduced Western painting methods, and incorporated realistic techniques into Chinese ink painting. Because of the incorporation of a large number of elements of Western painting, making his work presents a different from the traditional characteristics of Chinese ink painting. For Xu Beihong, who dominated the ink painting circles in China from 1920 to 1950, did his ink works really coincide with his viewpoints on the improvement of Chinese painting? Why did his works have a great gap with his historical position? These questions triggered the study of motivation. This study begins with the features presented by Xu Beihong’s works to probe into the improvement of Xu Beihong’s Chinese painting.