石涛艺术成就是多方面的:工诗文,善书画,山水、人物、花卉无所不精。他的山水画构思奇巧,面貌繁多,或黄山,或江南水乡,或山村野渡。他的花卉多作梅、兰、竹、菊、荷花等,墨色交融变化,清新雅淡,笔墨恣肆潇洒,充满昂扬激情。人物画追求神韵,或细笔精刻,或粗笔写意,皆神情自若,栩栩如生,跃然纸上。一本《画语录》既是他长期绘画实践的全面总结,又是其艺术精神的集中体现,其价值一直为学界所重视。对石涛的研究成为20世纪中国艺术和美学领域的重要对象。在海外也有大量的关于石涛的研究成果,石涛研究可以说是20世纪以来中国画学乃至美学研究的显学。本文就石涛画的荒率和丑怪这两大艺术面貌,分析其形成的社会原因。 Shi Tao’s artistic achievements are manifold: poetry, good calligraphy and painting, landscapes, figures, flowers and nothing else. His landscape paintings have witty, colorful appearances, or Huangshan, or Jiangnan Water Village, or Yakushido, a mountain village. His flowers and more for plum, blue, bamboo, chrysanthemum, lotus and so on, blending color changes, fresh and elegant, ink unbridled chic, full of high spirits. Figure pursuit of charm, or fine carved fine, or rough pen freehand, all look like, lifelike, vividly on paper. A “painting quotations” is both a comprehensive summary of his long-term painting practice and a concentrated expression of his artistic spirit. Its value has always been valued by the academic community. The study of Shi Tao became an important object in the field of Chinese art and aesthetics in the 20th century. There is also a great deal of overseas research results on Shi Tao. Shi Tao’s research can be said that since the 20th century Chinese painting and even aesthetic studies have made significant studies. This article analyzes the social reasons for the formation of the two art sketches of desolation and ugliness drawn by Shi Tao.