论文部分内容阅读
由中国美术馆、中国美术家协会、中国画研究院、中央美术学院、李可染艺术基金会主办的“江山无尽·李可染山水画展”于2005年5月9日至5月20日在中国美术馆举办,展出1943年至1989年间,四个时期的山水画作品100余幅,写生稿60余幅。李可染(1907—1989)是二十世纪中国山水画革新的杰出代表,中国画一代宗师。他以“为祖国河山立传”的朴素感情开始山水画写生实践,以“可贵者胆,所要者魂”的艺术魄力突破传统程式,创造出符合二十世纪审美观念的山水意象,把中国山水画的风神气韵从传统推至现代,并由意境创新带动笔墨创新和图式创新,成
Organized by the China Art Museum, Chinese Artists Association, Chinese Painting Research Institute, China Central Academy of Fine Arts and the Li Keran Art Foundation, the “Endless Li Keran Landscape Painting Exhibition” was held in China Art Museum from May 9 to May 20, Exhibition from 1943 to 1989, four periods of more than 100 pieces of landscape painting, sketch more than 60 pieces. Li Keran (1907-1989) is an outstanding representative of the Chinese landscape painting revolution in the 20th century, a master of Chinese painting. He started his landscape painting practice with his simple feelings of “establishing the ancestry of the motherland and rivers and mountains,” breaking through the traditional procedures with the artistic courage of “Valuable Gall and the Soul of the Master,” and created the landscape image conforming to the aesthetic conception of the twentieth century. The Chinese landscape painting Fengshen rhyme from the traditional push to the modern, and by the artistic innovation driven pen ink innovation and schema innovation into