从“吴氏粉本”到“吴腔”--谈吴冠中艺术中形与意的民族化问题

From ‘Wu’s Fenben’ to ‘Wu Qiang’——a study on the nationalization of form and meaning in Wu Guanzhong's art

吴冠中通过对艺术形式语言的探索提出了"油画民族化,国画现代化",中西并重,但更注重与中国人民思想感情息息相通的意境,从而达到形与意的民族化融合。吴冠中创新性地运用了"粉本"和"腔"的范畴来进行艺术评论和教学,并以自己一生的绘画践行之。因而本文提出"吴氏粉本"和"吴腔"两个范畴概念,以立足中国的、本土的现代艺术史角度恰当地反映吴冠中的艺术立场,阐述并举例分析吴冠中绘画中的发展变化,从而探究吴冠中如何吸取西方现代艺术的手法,将之化为中国人民喜闻乐见的吴氏形式和具有中国式审美意境的吴氏风格,即"吴氏粉本"和"吴腔"。而这归根结底是艺术如何民族化的问题,在强调中国艺术文化继承性和民族性的当下,具有更加重要的中国现代艺术史研究意义和广泛的借鉴意义。

Wu Guanzhong has proposed an idea of the nationalization of oil painting and the modernization of traditional Chinese painting'through his exploration of art form language.He attaches equal importance to Chinese and Western arts,and pays much more attention to the artistic conception that is closely connected with Chinese people's thoughts and feelings,thus achieving the nationalization of form and meaning.Wu Guanzhong has innovatively used two art historical terminologies Fenben' and Qiang'for art criticism and teaching,which has been practiced during his own artistic career.So the two terms of Wu's Fenben'and Wu Qiang'have been presented in this paper to reflect Wu's standpoint based on Chinese modem art history.In this paper I've illustrated the development in Wu's several art periods as well as explored how Wu absorbs the Western art skills to merge into his own style including both Chinese popular art well accepted by the masses and Chinese artistic conception,which is Wu's Fenben'and Wu Qiang:In the final analysis,this is the problem of how to nationalize our art.At the moment when the inheritance and nationality of Chinese art and culture are emphasized,it has more important significance for the academic research and extensive reference of Chinese modern art history.