徐悲鸿艺术的线性与体量——中国文艺复兴式艺术的早期样式

Linearity and Spirit of Mr. Xu Beihong's Art: Early Pattern of Chinese Renaissance Art

徐悲鸿对于中西方传统文化的阐释是站在综合的角度,而不是唯艺术而艺术论,他从民族、国家兴衰的高度去观照艺术的价值和品位,于是他把人物画的观照点放在魏晋与盛唐人物画,把山水画的关照点放在五代北宋的北派山水画。从技术艺术史的角度来审视,徐悲鸿画面局部经放大后,其线条追求屋漏痕和金石味,整体劲健有力,线条虽与顾恺之、吴道子有差异,但其气韵上的借鉴转移,挺立的风貌、气韵的贯穿、起落笔的洒脱,与顾恺之、吴道子、阎立本等古代大家艺术风范是一脉相承的。徐悲鸿在作品中致力于弘扬时代精神,将民族气节与艺术叠加,对顾、吴、阎的线性特质,魏碑书法和大唐剑术气质进行高度融合,从而构成他特有的对中国绘画"气韵生动"的创化。

Xu Beihong stood on a comprehensive angle to interpret Chinese and we;stern culture, but not discussed art for art. He attended to the value and taste of art from the height of national vicissitude. So, when he studied figure painting, he paid much attention to figure paintings in Wei and Jin dynasties and the flourishing period of Tang dynas- ty; and when he studied landscape painting, he paid much attention to northern school landscape painting. Viewed from the angle of techniques, Xu Beihong inherited ancient masters such as Gu Kaizhi and Yah Liben in his pursuit of lines. Xu Beihong dedicated himself to advocating contemporary spirit, and profoundly integrate the linear features of Gu Kaizhi and Yan Liben＇s paintings anti Wei tablet calligraphy anti swordsmanship in the flourishing period of Tang dynasty, which formed his peculiar innovative Chinese painting.