论文部分内容阅读
中国画在现当代发展最为迅猛的是人物画,尤其是意笔人物画。徐悲鸿以西方写实绘画的科学性来改良中国画,引领了水墨人物画的创造潮流。而“浙派人物画”(或提“新浙派”以区别于明代的“浙派”)则站在中国传统文化的立场上,尤其是文入画艺术笔墨审美的立场上,吸收西方写实造型。潘天寿等一批传统中国画家的指导与李震坚、周昌谷、方增先等受过苏式素描训练的画家的探索相融合,创作出一批与徐蒋体系不同,更有中国传统绘画特点的作品,在中国画界产生了不朽的影响力。首创于1963年的《粒粒皆辛苦》是“浙派人物画”的
Chinese painting in the most rapid development of modern and contemporary is the figure painting, especially the portrait painting. Xu Beihong improved the Chinese painting with the scientific nature of Western realistic paintings and led the creation trend of ink and wash figure painting. The “Zhepai Figure Painting” (or mentioning the “new Zhejiang School” to distinguish it from the “Zhejiang School” of the Ming Dynasty) stood on the position of Chinese traditional culture, especially on the aesthetic aesthetic position of writing and painting art, absorbing Western realistic modeling. Pan Tianshou and a group of traditional Chinese painters have been integrated with the exploration of artists trained by Soviet-style drawings such as Li Zhenjian, Zhou Changgu, and Fang Zengxian to create a series of works that are different from the Xu Jiang system and more traditional Chinese painting. The community has an immortal influence. Founded in 1963, “all particles are hard” is “Zhejiang school portrait painting ”