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19世纪的中国画面临诸多的危机与变革,在这一时期,画家在“固守传统”与“全盘西化”两条道路上徘徊,他们中的一些希望通过西方的观念来改造中国的文化,还有一些则愿吸收西方的文化来谋求中华文化的复兴。傅抱石则集合了这两种大成,从他的作品能够看出民族艺术的影子,又可以感受到某些外来艺术方法的表现。他发展了文人画,但却又厌恶其中的“流面化”对于艺术的毁灭。他因自身对于中国篆刻和美术史的喜爱,将这些元素与日本画、水彩等融合,形成了独特的笔触和画法,成为“二石”之一(北为齐白石,南为傅抱石)。
The nineteenth-century Chinese paintings faced many crises and changes. During this period, the painters wandered on the two paths of “keeping the tradition” and “Westernizing all over the country,” and some of them wanted to transform China through western concepts Culture, while others would like to absorb the Western culture to seek the revival of Chinese culture. Fu Baoshi combines these two kinds of culmination, from his works can see the shadow of national art, but also can feel some of the performance of foreign art methods. He developed the literati painting, but hated the “melodrama” of it for the destruction of art. Due to his love of Chinese carving and history of art, he fused these elements with Japanese paintings and watercolor to form unique brushwork and painting, becoming one of the “two stones” (Qi Baishi in the north, Fu Baoshi in the south ).