李可染写生期山水画绘画语言研究

A Study on the Language of Landscape Painting in Li Keran’s Sketching Period

李可染先生作为中国画革新的代表人物之一,他将中西绘画进行融合,开辟了新的山水画画风,找到了传统与现代、中方与西方之间很好的契合点。二十世纪五十年代年,李可染决定深入大自然,丢弃山水画原有的僵化符号,为中国山水画变革进行下一步探索。通过将自己对整个自然界的真实感受及色彩融入山水中,达到形与情志的高度统一。本文将重点放在李可染先生艺术语言形成的转折期,运用文献分析法及图像分析法,通过写生时期《长征》《泰山日出》等作品的解读,从笔法、墨法、构图、色彩方面具体解读体现他写生实践的价值及艺术语言。李可染先生对中国画革新无疑是成功的,对山水画的转型起到了积极的作用,至今对中国画的发展都起着不容小觑的作用。

Li Keran as one of the representatives of Chinese painting innovation.He combined Chinese and Western painting and he opened up a new style of landscape painting.In the 1950s,Li Keran decided to go deep into nature and paint landscapes.He rejected the original method of landscape painting.He made a deep exploration for the reform of Chinese landscape painting.This essay focuses on the transition period of the formation of Mr.Li’s artistic language.He used literature analysis and image analysis.Through the interpretation of"Long March","Mount Tai Sunrise"during the period of sketching,the value and artistic language of his sketching practice are specifically interpreted from the aspects of brushwork and composition.Li Keran’s innovation of Chinese painting is undoubtedly successful,and he plays a positive role in the transformation of landscape painting.Until now,he has played an important role in the development of Chinese painting.