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20世纪之后,中国的绘画发生了翻天覆地的变化,也正是这个时期让中国的画家们经历着转型的磨砺和探寻的痛苦,最终涌现了大批引领画界的大师。关良和高马得二位先生便是该时期的代表人物。关良可谓是留洋学习西方绘画的践行者,亦是中国传统文化的继承者;而高马得先生的“戏画”则是地地道道根植于中国本土文化而自成一家的。关良先生被奉为戏画的鼻祖;高马得先生乃戏画的集大成者。纵然是他们共同的兴趣使然,但是绘画与戏曲的和谐体现,终究还是有最根本的原因。中国画与中国戏曲艺术皆为国粹,且都深深根植于中华文明的沃土中,“戏”与“画”从表现形式、美学原则、艺术态度以及艺术精神和哲学根源等四方面都存在着相通之处,戏曲人物画在中国当代语境下仍然有其重要价值。
After the 20th century, the Chinese painting has undergone tremendous changes. It is also during this period that Chinese painters have experienced the pain of transformation and exploration, and finally a large number of masters who have led the field of painting have emerged. Guan Liang and Mr. Gao Ma are the representatives of this period. Guan Liang is a practicing practitioner of Western learning in studying foreign cultures and an inheritor of traditional Chinese culture. However, Mr. Goode’s “Theatrical Painting” is an original one rooted in Chinese native culture. Mr. Guan Liang is regarded as the originator of the painting; Mr. Gao Made is the master of drama. Even though they share common interest, the harmony between painting and drama ultimately leads to the most fundamental reason. Both Chinese painting and Chinese traditional opera are quintessentially nationalized, and are deeply rooted in the fertile soil of Chinese civilization. From the aspects of manifestations, aesthetic principles, artistic attitudes, artistic spirit and philosophical roots, “opera” and “painting” All have the similarities, the opera figure painting still has its important value under the contemporary Chinese context.