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随着岭南画派研究热的兴起,人们对高剑父的作品的研究也逐步深入,从山水而花鸟,继之而人物。以往对高氏的人物画的研究,大多集中在《布袋和尚》及罗汉人物以及《南国诗人》上,但近年来,人们对《罗浮香梦》、《顾影自怜》等作品的探讨兴趣大浓。基于此,本文试图在作品分析的基础上,对高剑父的人物画实践的“真相”进行一番揭示。
With the rise of the study of Lingnan School of Painting, people’s research on the works of Gao Jian-fu has also been gradually deepened, from the landscape and flowers and birds, followed by figures. In the past, most of Gao’s portrait paintings were concentrated on the “monk Bag” and the figures of Luohan and “poets in the South”. However, in recent years, people’s interest in the exploration of works such as “Luo Fu Xiang Meng” and “Gu Ying Zi Lian” has been greatly enhanced. Based on this, this article tries to reveal the “truth” of figure painting practice by Gao Jian-fu based on the analysis of works.