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中国画人物画在20世纪经历了巨大的变革,这一变革的推进力量来自于中国社会波澜壮阔的运动和与之相应的汹涌澎湃的文化大潮。人民大众在为民族、国家兴亡和争取自身自由、民主的斗争中,需要艺术作为助力鼓舞他们的勇气,增强他们的信心,提升他们的精神力量。而有社会责任感和艺术使命感的画家们,用自己的才智和艺术技巧,努力反映劳苦大众遭受的苦难和他们的理想追求。西学东渐之风,给中国画界送来了被晚清以来文人画家们遗忘了的写生法和艺术的现实品格,弥補了衰落了的文人画在描写人物形象方面的不足。徐悲鸿、蒋兆和等艺术前贤,借他山之石磨砺现代水墨人物画之玉,其成果有目共睹。不过,在这过程中,也不可
Chinese painting portraits have undergone tremendous changes in the 20th century. The driving force of this transformation comes from the magnificent movement of Chinese society and the correspondingly intense cultural tide. The people, in their struggle for the nation and the country to rise and rise for their freedom and democracy, need art as a source of inspiration to boost their courage, enhance their confidence and enhance their spiritual strength. Painters with a sense of social responsibility and artistic mission, with their own intelligence and artistic skills, have tried their best to reflect the suffering suffered by the working-hard people and their ideal pursuit. The gradual progress of Western learning brought the Chinese painting community the sketching and art realities forgotten by the literati painters since the late Qing Dynasty and made up for the shortage of the declining literati painting in portraying the figure. Xu Beihong, Jiang Zhao and other artistic predecessors, by the stone of other mountains sharpen the jade of modern ink painting figure, the results are obvious to all. However, in this process, nor