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近代国画大家黄宾虹在中国画领域的创新与继承上所做出的贡献是毋庸置疑的,他的中国画成就深刻地影响着当代中国画的发展。但是,一个不可忽视的事实是,黄宾虹的山水画探索中,在相当长的一段时间内,他的画并不为时人所喜,尤其是在艺术市场方面,是长期被冷落的对象。本文作者以上海时期的黄宾虹与同时代的“三吴一冯”(吴湖帆、吴待秋、吴华源、冯超然)为例,通过对比两者在20世纪艺术品市场中富有戏剧性变化的过程,诠释黄宾虹“先抑后扬”的百年艺术之旅。
The contribution made by modern Chinese painting artist Huang Binhong in the innovation and inheritance of Chinese painting is beyond doubt. His achievements in Chinese painting have profoundly influenced the development of contemporary Chinese painting. However, one fact that can not be ignored is that during the exploration of Huang Binhong’s landscape painting, for a long period of time, his paintings are not popular with the people of the time. Especially in the art market, they are long-neglected objects. Taking Huang Binhong in Shanghai and his contemporaries such as Wu Wu-fan, Wu Pei-chuen, Wu Hua-yuan and Feng Chaoran for example, this article compares the two dramatic changes in the 20th century art market, Huang Binhong “Xianyihouyang ” a hundred years of art trip.