摘要
徐渭在20世纪上半叶的美术史研究与书写中,处于被忽略的状态,美术史论家们对他评价不高,直到进入新时期,徐渭的绘画水平才得到广泛认可。相比而言,20世纪画家们对徐渭的接受早于美术史论家,其中蒲华、吴昌硕、齐白石、黄宾虹、潘天寿、张大千、李苦禅等均在不同程度上学习过徐渭的绘画,但没有一个画家最后在艺术语言与风格上贴近徐渭,反而是远离徐渭,这体现出20世纪画家们接受徐渭绘画的理性态度。
Xu Wei was neglected in the research and writing of art history in the first half of the 20th Century, and art historians did not think highly of him. It was not until the new era that Xu's painting level was widely recognized;actually, painters accepted Xu earlier than art historians. Pu Hua, Wu Changshuo, Qi Baishi, Huang Binhong, Pan Tianshou, Zhang Daqian, Li Kuchan and other painters studied Xu's paintings. But instead of following Xu's artistic language and style, they developed their own, demonstrating that they were all rational in recognizing Xu's paintings.
作者
李永强
Li Yongqiang(the Guangxi Arts Institute)
出处
《美术》
CSSCI
北大核心
2023年第6期66-75,共10页
Art Magazine
关键词
徐渭
大写意花鸟画
美术史书写
Xu Wei
large freehand flower-and-bird paintings
writing art history