论文部分内容阅读
随着20世纪社会结构的变革,近现代中国画的艺术风格与评判标准也更加多元,文人画的传统逐渐衰退,西方画派的观念与技法迅速涌入中国画坛。写意人物画从纯粹的笔墨情趣转向对现实生活的体验与展露,水墨人物画自始经历了一系列的革新,至“八五”新潮后,线从形当中得到解放,笔墨与造型也不断磨合,从完全对立变成互利共存。此外,人物画在题材上也得到了极大扩充,不仅是现实的生活题材数量增多,还出现了一些与其他传统艺术相结合的人物画类型。如关良与林风眠都曾以中国画的形式表现中国戏剧人物,对“戏剧画”这一题材的发展作出了
With the transformation of social structure in the 20th century, the artistic style and evaluation criteria of modern Chinese painting are also more diverse. The tradition of literati painting is gradually declining, and the ideas and techniques of western painting schools are rapidly pouring into Chinese painting. Freehand portraits have turned from pure brushwork to experiencing and revealing to real life. Ink and wash portraits have undergone a series of innovations from the beginning to the eve of the “1985” Constantly run, from complete opposition into mutually beneficial coexistence. In addition, the portrait painting has also been greatly expanded, not only increasing the number of realistic themes of life, there have been some combination with other traditional art figure types. For example, Guan Liang and Lin Fengmian both represented Chinese dramatis personae in the form of Chinese painting and made the development of the subject of “dramatic painting”