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回眸20世纪至今的百年中国山水画坛,从整体上看,是处在一个转型时期。其主流倾向是使中国传统绘画走向现代。一些前辈们一是沿着走向自然、面对现实。这一路的主要功绩是给传统山水画注入了新的生命活力,开辟了山水画的发展前景,同时又不失传统文化精神,因而成就了像傅抱石、李可染、石鲁、赵望云、何海霞、关山月、黎雄才等大师级人物。二是沿着“中西融合”的轨迹,把中西两种文化元素进行合成,发展了中国画的新图式,如林风眠、吴冠中等。他们的功绩是发展了中国画的形态样式,同时也不失东方文化神韵。这两路都未隔断传统文脉,都是面向大自然,因而使中国山水画发生了划时代的巨变。
Looking back at the century-old Chinese landscape painting scene from the 20th century to the present, as a whole, it is in a period of transition. Its main tendency is to make traditional Chinese paintings go to the modern age. First, some predecessors are moving toward nature and facing reality. The main achievement of this road is to inject new vitality into the traditional landscape painting and to open up the development prospect of landscape painting without losing the traditional cultural spirit. Thus achievements such as Fu Baoshi, Li Keran, Shi Lu, Zhao Wangyun, He Haixia, Guan Shanyue , Li Xiongcai and other masters. The second is to follow the trajectory of “Chinese and Western fusion ”, the two Chinese and Western cultural elements were synthesized, the development of new Chinese painting schemata, such as Lin Fengmian, Wu Guanzhong and so on. Their merit is the development of the morphological style of Chinese painting, without losing the charm of oriental culture. Both of these roads have not cut off the traditional context, are facing the nature, so that Chinese landscape painting epoch-breaking changes took place.