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中国传统人物画在漫长的历史进程中,形成了从题材到技法多方面的程式规范。在艺术创作日趋多元化的时代,观者很难从这些程式中找到传统人物画与社会生活之间的关联,故而传统人物画所受到的关注越来越少。但是,当我们回望历史,从艺术家个体的成就入手全面审视其艺术贡献时,还是会发现这些个性化的艺术语言中所特有的时代印记,本期[时代人物]徐燕孙的艺术恰恰证明了这一点。[本期名家]推介的曹宝泉,则是当代中国人物画家的代表,他经历过多年的学院教育,具备扎实的中国画笔墨基础,其可贵的艺术探索与实践证明了传统媒材融入时代语境的可能性。读者亦可通过不同时期的艺术家及其作品的对比参照,对中国人物画的传承与演进做出客观的判断。
In the long course of history, traditional Chinese figure painting has formed a program specification from the theme to the technique. In the era of increasingly diversified artistic creation, it is very difficult for viewers to find the connection between traditional portrait painting and social life from these programs. Therefore, traditional portraits have received less and less attention. However, when we look back on history and start with the accomplishments of individual artists to thoroughly examine their contribution to the arts, we still find time stamps unique to these individualized artistic languages. This is exactly what the art of Xu Yansun a little. He is a representative of the contemporary Chinese figure painter. He has undergone many years of college education and has a solid foundation of Chinese painting and calligraphy. His valuable artistic exploration and practice have proved that traditional media are integrated into the contemporary context possibility. Readers can also make objective judgments on the inheritance and evolution of Chinese portraits through the comparison and contrast between artists and their works of different periods.