俱收并蓄:从林风眠仕女画看唐宋绘画色彩的现代转译

Incorporating Diverse Elements:The Modern Translation of Painting Colors in the Tang and Song Dynasties from Lin Fengmian's Paintings of Beautiful Women

20世纪初期是中国社会的转型期。在此期间,中国社会在精神与文化等诸多方面,由旧文化转向新文化。基于此背景,林风眠在创作中也植入了对传统中国画进行“革新”的意识,强调“现代性”与“转型”,林风眠所绘的仕女形象在图式上既承袭了中国传统绘画中关于“仕女”的经典特征,又在表现方式上融通中西技巧,形成了同时兼具个人特征和民族特性的绘画样本。本文以林风眠仕女画的色彩为切入点,探讨林风眠如何依据个人的认知和话语,融合西画与唐宋绘画技巧,剖析林风眠对传统美术色彩中的文化基因进行现代转译的过程,从而阐明林风眠在近代中国美术寻求民族性的道路上所创造的经典模式。

The early 20th century witnessed the transition of Chinese society.During this period,Chinese society shifted from the old to the new in spiritual and cultural aspects.Under this background,Lin Fengmian also implanted the awareness of"innovation"of traditional Chinese paintings in his creation,emphasizing"modernity"and"transformation".With regard to the images of women,he inherited the classic features of"beautiful women"in the traditional Chinese paintings in the imagistic form while Chinese and Western techniques are integrated in the way of expression to form a painting sample with both personal and national characteristics.With the colors of Lin Fengmian's paintings of beautiful ladies as the starting point,this paper discusses how he integrated the Western painting and the Tang and Song painting skills according to his personal cognition and discourse.It further analyzes the process of his modern translation of the cultural genes in traditional art colors so as to expound the classical mode that he created on the road of seeking national characters in modern Chinese art.