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朱全增的花鸟画汲取熔化了中国花鸟画传统的经典样式,同时创造着自己雄健敦厚的个性化语言风格。朱全增既有西画基础,又擅长中国画山水、花鸟。在花鸟画语言上,他主要汲取熔化了两种花鸟画传统的经典样式,即中国古典花鸟画传统和现代花鸟画传统,特别是原籍山东潍坊的画家郭味蕖、于希宁等人的花鸟画革新传统。郭味蕖、于希宁等人的花鸟画革新传统,是20世纪中叶以后中国花鸟画内部变革产生的新的语言样式,是在继承古典花鸟画传统的基础上的革新,虽然也借鉴了西画的某些因素,但并不以中西融合为主旨,而以复兴和变革古典花鸟画传统为归依。
Zhu Quanzeng’s bird-and-flower paintings draw the classic style that melted the traditional Chinese bird-and-flower painting while creating his own strong and personal language style. Zhu Quanzeng both Western painting based, but also good at painting landscapes, flowers and birds. In the language of flowers and birds painting, he mainly draws on the traditional style of melting two traditional flower and bird paintings, that is, the tradition of Chinese classical flower and bird painting and the tradition of modern flower and bird painting, especially the original artist Weifang Shandong painter Guo Wei 蕖, Xining and others’ Tradition. The traditional tradition of flower and bird painting by Guo Weiliu and Yu Xining et al. Is a new language style created by the internal transformation of Chinese bird painting since the middle of the 20th century. It is an innovation based on the tradition of classical flower and bird painting, These factors, however, are not based on the fusion of Chinese and Western elements, but are based on the tradition of reviving and transforming classical flowers and birds.