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自五十年代至七十年代,在中国画坛上,是以契斯恰阔夫素描体系为基础的现实主义的全盛期。契氏体系素以严谨的、科学的观察方法和表现方法著称,按照当时苏版百科全书及有关教材,油画总是被反复重申为最合科学性的艺术。在这个体系的熏陶下,形成了当时艺术创作和批评的氛围。人们习惯于以一种科学的、统一的时空关系来理解油画,评价作品如何在二维平面上准确而巧妙地创造出三维空间的真实印象。然而,在这种氛围中胡善余却一反时尚,他的画好像一颗闪闪发光的钻石,以一种迥然不同的面貌呈现出来。按当时的情况来看,胡先生的画是前卫的。因为那时甚至印象主义还没有被大众理解。根据当时流行的批评观念,胡先生的画似乎忽略了造型的精确性、缺乏统一的、均匀的、同质的空间关系,物体缺少明暗交界线和坚实的轮廓,色彩不是准确地贴附在形上而是试图挣脱出来。总之,胡先生的画,还不大适合于当时人的眼睛,形象显得较“拙”,按科学的观
From the 1950s to the 1970s, in the Chinese painting society, it was the heyday of realism based on the sketch system of Cescatch. Chensienschu rigorous scientific observation methods and performance methods known, according to the then Su encyclopedia and related textbooks, painting is always repeatedly reiterated as the most scientific art. Under the influence of this system, the atmosphere of artistic creation and criticism was formed. People are accustomed to understanding oil painting in a scientific and unified time-space relation and evaluating how the works create the true impression of the three-dimensional space accurately and cleverly in the two-dimensional plane. However, in this atmosphere, Hu Shan Yu is an anti-fashionist. His painting is like a glittering diamond, presented in a very different way. According to the situation at the time, Mr. Wu’s paintings are avant-garde. Because at that time even impressionism was not yet understood by the general public. According to the prevailing criticism, Mr. Hu’s paintings seem to ignore the accuracy of modeling, the lack of a uniform, homogeneous and homogeneous spatial relationship, the lack of light and dark boundaries and a solid outline of objects, the color is not accurately attached to the shape Instead, try to break free. In short, Mr. Hu’s paintings are not very suitable for the eyes of the people of that time, and their images appear to be “clumsy”