论文部分内容阅读
作为美术创作与美术教育,美术学院是一个最好不过的场所。许多年来,人物画创作的主流,大多都是与当代的中国美术教育有着不可分的关联,无论是传统的,还是反传统的画家和教授,他们多多少少地受到过学院美术教育的训练。再者,作为师承关系的延续,自然地形成了艺术的取向和各地美术学院的特色。 湖北美术学院中国画系,在上个世纪八十年代初,中国画教学有两个方向的选择,一是潘天寿的国粹教学思想,二是李可染,蒋兆和的西方写生教学思想（前者曾影响过六十年代的学生,后者就直接地影响至今）。曾与潘天寿组织“白社”的成员张振铎先生就是当时国画专业的教授,研究生导师。他招了一届研究生就
As a fine art creation and art education, art academy is one of the best places. For many years, most of the mainstream figure paintings have been connected with contemporary Chinese art education. Both traditional and anti-traditional painters and professors are trained more or less in college art education. Furthermore, as a continuation of the relationship between teachers and students, it has naturally formed the orientation of art and the characteristics of art academies all over the world. Chinese Painting Department of Hubei Academy of Fine Arts In the early 1980s, Chinese painting teaching had two choices: one was Pan Tianshou’s teaching thought of national essence, the other was Li Keran and Jiang Zhaohe’s Western sketch teaching thought (the former had influenced sixty The students of the age, the latter will have a direct impact so far). Mr. Zhang Zhenduo, a member of Pan Shushou, who had organized Pan Shushou, was a professor of Chinese painting at that time and a tutor for postgraduates. He recruited a graduate student