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美术史界对“南陆北李”的研究,今天已不再停留于二者迥异的艺术风格上。当我们以历史的眼光审视这个称谓时会发现,在上世纪中西文化激烈碰撞的时代情境下,陆俨少和李可染艺术中折射出截然不同的师学背景、艺术选择、应对态度、审美贡献,都极具典型的时代意义,也从不同角度修正、提示着其后中国画的发展方向。本期择刊的三篇文章就体现出在“南陆北李”研究上的新收获。作为陆俨少的学生,万青屴先生饱含深情地回忆了陆师艺术道路上的良师挚友,史料丰富,也促进了我们对于艺术家内心情感的深切认识;郎绍君先生从陆俨少的艺术成就中提炼出“师人·师物·师心”的宝贵经验;由写生方式和“红色山水”题材入手,李公明先生对李可染的山水画创新作了时有创见的细腻分析。就绘画史研究而言,风格之变是其重要内容,同时,对于“变之缘由”及“何以之变”的寻绎与探求也值得深入。
The study of fine arts in the history of the North and the South has no longer remained in the artistic styles of both. When we look at this appellation from a historical perspective, we can see that Lu Yanshao’s and Li Ke-nian’s art reflected completely different backgrounds of teachers, art choices, coping attitudes and aesthetic contributions in the era of fierce collision between Chinese and Western cultures in the last century. Are very typical of the significance of the times, but also from different angles, suggesting that the direction of the development of Chinese painting later. The three articles published in this issue reflect the new achievements in the study of “North Li and South China”. As a student of Lu Yanshao, Mr. Wan Qingli deeply loves to recollect the great mentor and friend on the road of Lu Shi’s art. His rich historical materials also promote our deep understanding of the artist’s inner feelings. Mr. Lang Shaojun’s artistic achievement from Lu Yanshao In his work, he sketched out his valuable experience of “teacher, teacher, teacher and teacher”. Starting from the sketching way and the subject of “Red Landscape”, Mr. Li Gongming made a meticulous analysis of Li Keran’s landscape innovation. As far as the study of history of painting is concerned, the change of style is an important part of it. At the same time, it is also worth further reading and seeking for the reasons for the change and why change.