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1950年代始,雨花台成了革命英烈的一种象征,具有非常特殊的革命怀想与历史记忆,在南京地区拥有十分广泛的群众基础。作为南京风景的雨花台,逐渐成为傅抱石关注的绘画题材。1956年的雨花台写生较多地呈现出自然主义的倾向,尽管也有明确的政治意味,但相对宽松的政治氛围使笔墨语言表现力获得了较大的自由空间。后来,在日益泛政治化的社会氛围中,作为革命纪念地的雨花台景观在意识形态的强大作用力下形成了超乎个人意志之上的统一的创作规范,以一种宽博、高大、雄伟的画面格局,创造了一种浓郁、繁盛、谨严的审美风格,比较成功地完成了从一般风景向一种特定山水,表现出一种与革命纪念地相吻合的庄严崇高的特定意境,实现了视觉语言、文化结构、审美趣味与时代题材的有机融合。所以,傅抱石的“雨花台图系列”不仅留下了深刻的时代烙印,而且生动见证了绘画与社会的复杂关系。
Since the 1950s, Yuhuatai has become a symbol of revolutionary martyrs. It has a very special revolutionary imagination and historical memory and has a very extensive mass foundation in Nanjing. As a landscape of Nanjing Yuhuatai, Fu Baoshi gradually become concerned about the painting theme. In 1956, the Yuhuatai sketches showed a more naturalist tendency. Although there was a clear political meaning, the relatively relaxed political atmosphere provided greater freedom of expression for pen and ink. Later, in the increasingly politicized atmosphere of society, the Yuhuatai landscape, a memorial of the revolution, formed a unified creative norms beyond personal will under the powerful ideological force, with a broad, high, magnificent Created a rich, prosperous and cautious aesthetic style, successfully completed from the general landscape to a specific landscape, showing a consistent and revolutionary commemoration of the solemn and sublime specific mood, to achieve Visual language, cultural structure, aesthetic taste and the integration of the theme of the times. Therefore, Fu Baoshi “Yuhuatai map series ” not only left a deep imprint of the times, but also vivid witness the complex relationship between painting and society.