论文部分内容阅读
通过对于林风眠、吴大羽、蔡威廉和方干民等国立艺术院艺术家的相关实践分析,我们基本可知早期国立艺术院绘画创作中的立体主义倾向。事实上,中国20世纪架上艺术抽象化实践的研究,是20世纪中形成的中国写实主义的兴盛、写意性表现主义两大中国油画重要经验之外的又一种重要语言特征。中国立体主义不是流派,而是一种语言倾向,主要表现为几何形体、肌理笔调和空间构成等特点,这些中国早期重要的现代艺术倾向的视觉语言特点,以往被长期忽略。早期国立艺术院绘画创作中的立体主义倾向,表明中国20世纪架上艺术抽象化实践的研究,是20世纪中形成的中国写实主义的兴盛、写意性表现主义两大中国油画重要经验之外的又一种重要语言特征。
Through the relevant practical analysis of artists such as Lin Fengmian, Wu Dayu, Cai Weilian and Fang Qianmin, we can basically know the tendency of Cubism in the painting creation of the early National Art Academy. In fact, the study of art abstraction in China in the 20th century is another important linguistic feature of the rise of Chinese realism formed in the 20th century and the important experience of the two major Chinese oil paintings of freehand expressionism. Chinese Cubism is not a genre, but a linguistic tendency characterized mainly by geometry, texture and spatial composition. These characteristics of the visual language of earlier important Chinese modern art tendencies have long been neglected. The tendency toward stereology in the early National Art Academy paintings shows that the research on the abstraction of art in the 20th century in China is not only the important experience of Chinese realism formed in the 20th century but also the important experience of the two representative Chinese oilpains Another important language feature.