摘要
20世纪上半叶中国绘画的格局是明清大写意与元代小写意、唐宋严谨画三足鼎立,然后是文人画大写意,直到吴昌硕、齐白石、黄宾虹、潘天寿这四家,中西合璧与传统派二者并存。文人画在社会结构已发生巨大变化的时代逐渐失去发展空间,中国画融通西方现代艺术广为人接受,林风眠、吴冠中等一辈艺术家身体力行,探索中西融通,探索中国绘画在时代中的历史转变之路。
In the first half of the 20th century,there were three patterns of the Chinese paintings: large freehand brushwork in Ming and Qing,small freehand brushwork in Yuan Dynasty,meticulous paintings in the Tang and Song dynasties,and then there was the scholar painting large freehand brushwork,until Wu Chang-shuo,Qi Bai-shi,Huang Bin-hong,Pan Tian-shou,and Western-eastern combination of both co-exist with the old school.Scholar painting in the social structure has undergone tremendous changes in the era of losing space for development of modern Western art of Chinese painting facility widely accepted,Lin Feng-mian,Wu Guan-zhong,etc.explore Western intermediation to explore Chinese painting in the era of historic change oin the way.
出处
《内蒙古大学艺术学院学报》
2011年第3期72-76,共5页
Journal of Art College of Inner Mongolia University
关键词
中国绘画
风格
变革
中西融通
Chinese painting
style
change
Western-eastern intermediation