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吴冠中(1919-2010年),江苏宜兴人,当代著名画家、油画家、美术教育家。他是20世纪现代中国绘画的代表画家之一。长期以来,他不懈地探索东西方绘画两种艺术语言的不同美学观念,坚韧不拔地实践着“油画民族化”、“中国画现代化”的创作理念,形成了鲜明的艺术特色。从70年代起,吴冠中渐渐兼事中国画创作。他力图运用中国传统材料工具表现现代精神,并探求中国画的革新。他的水墨画构思新颖,章法别致,充满诗情画意。《岸上垂柳水里春秋》,垂柳、涟漪和黑天鹅情侣组成的画面,清新恬淡,情调高雅,显示了中国美学一贯要求的空灵恬静的人文意义。他喜欢简括对象,以半抽象的形态表现大自然音乐般的律动和相应的心理感受。作为美术教育家和善思考的艺术家,他勤于著述,立论独特,其中关于抽象美、形式美、形式决定内容、生活与艺术要如风筝不断线等观点,曾引起美术界的争论。
Wu Guanzhong (1919-2010), Yixing, Jiangsu Province, a famous contemporary painter, oil painter, art educator. He is one of the representative painters of modern Chinese painting of the 20th century. For a long time, he has tirelessly explored different aesthetic concepts of two kinds of artistic language in Eastern and Western painting, persistently practiced the creative concept of “nationalization of oil painting” and “modernization of Chinese painting”, forming distinctive artistic features. Since the 1970s, Wu Guanzhong has also been involved in the creation of Chinese paintings. He endeavored to use the traditional Chinese material tools to express the modern spirit and to explore the innovation of Chinese painting. His ink painting concept novel, unique chapter, full of poetic. The pictures of Spring and Autumn on Weeping Willows, Weeping Willows, Ripples and Black Swan couple show fresh tranquility and elegant atmosphere, showing the humanistic meaning of the ethereal tranquility that Chinese aesthetics has always required. He likes to summarize objects and express the natural rhythms and corresponding psychological feelings in semi-abstract forms. As an art educator who is a good thinker, he diligently writes and uniquely discusses the subject. Among them, there are controversies in the art circle concerning the abstract beauty, the formal beauty, the content of the form determination, and the fact that life and art are like a constant kite.