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当代艺术家的笔下很难避开城市这个意象,随着城市的崛起、城市的变迁,画家们用画笔蘸着自己对城市的感知之墨,造就了一幅又一幅画城。从城市诞生的那一刻起,无论是它带来的是奇迹还是弊病,就已经注定会成为艺术家关注的对象,这其中便包括由此而产生的“城市山水画”。“城市山水画”向上可以追溯到历代画家的宫阙楼阁及市井集镇的画作,而更贴切的则是从20世纪50年代以来以李可染、傅抱石先生的城市写生为开端新画作。艺术家们在新旧城市永不停息的交替中,以超越传统山水画的入画标准、意境和表现手法,打造了一个书画中的现代都市。
It is hard for contemporary artists to avoid the image of the city. With the rise of the city and the change of the city, painters dipped their perception of the city with their paintbrushes to create another painting city. From the very moment when the city was born, no matter whether it brings miracles or maladies, it is already destined to become the object of attention of artists. This includes the resulting “urban landscape painting”. “Urban Landscape Painting” can be traced back to the palaces of Miraculous Palaces and Market Towns in successive generations of painters, but even more relevant are the new paintings from the urban sketches of Li Keran and Fu Baoshi since the 1950s. In the never-ending alternation of old and new cities, artists have created a modern city in calligraphy and painting in order to surpass the standard of painting, artistic conception and expression of traditional landscape painting.