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清末画坛由于过分强调“古意”,忽视了对客观对象的观察和体验,使得当时的山水画一味“摹古”而缺乏生气。从20世纪初开始,国画家面对的主要课题就是如何在适应当代人审美要求的前提下进行创新。黄宾虹、傅抱石、李可染等山水画大家都对这一问题进行了探索。他们山水画创新的共同之处在于重新将自然山水当作艺术创作的源泉,并总结出一套山水画写生与创作的原则。所以我们应在不断总结前人经验的基础上,结合自己的体会对山水画写生进行更为深入的理解。
Due to the overemphasis on the “ancient meaning” in the late Qing Dynasty painting circles, the observation and experience of the objective objects were ignored, which made the landscape paintings blindly copy the ancient ones and lacked vitality. From the beginning of the 20th century, the main issue facing Chinese painters is how to innovate under the premise of meeting the aesthetic requirements of contemporary people. Huang Binhong, Fu Baoshi, Li Keran and other landscape paintings we all have to explore this issue. The commonality of their landscape painting innovation lies in reusing the natural landscape as the source of artistic creation and summarizing a set of principles of landscape painting and creation. Therefore, we should make a more in-depth understanding of landscape painting based on the experience of our predecessors.