王原祁与塞尚再比较  

Comparison Between Wang Yuan-qi and Cézanne's Paintings

作　　者：吕小川[1] 张卿[2] 

机构地区：[1]泉州师范学院艺术学院,福建泉州362000 [2]福建师范大学,福建福州350007

出　　处：《泉州师范学院学报》2010年第1期130-132,共3页Journal of Quanzhou Normal University

摘　　要：王原祁与塞尚从形式结构上都具有完整性和造型的紧密性,强调表面节奏感。对画面前景和远景的并置也都给予重视。二者都通过自己的方式表现出对古典的崇敬及对传统的扬弃;当然,由于中西文化背景的差异,王原祁和塞尚的相似之处仅仅是表面的。塞尚以色彩为手段塑形,而王原祁抽象的基础是中国书法。在对二者特色进行比较的同时,以二者作品为实例,对《深壑溪庭图》、《辋川图》及《《圣维克多山》进行造型分析,具有一定的说服力。Both of Wang Yuan-qi and Cezanne＇ s paintings have integrity and tightness in formal structure, while emphasizes sense of surface rhythm and juxtaposition of foreground and prospect. By their mode, the paintings show reverence to the classic and sublation to the tradition. Because of background differences in Chinese and western culture,the similar place in Wang Yuan-qi and C6zanne＇s paintings is just Cezanne moulded the paintings with color, but Wang Yuan-qi paintings was based on Chinese calligraphy. At the same time of comparing the ＂characteristics, the paper takes their works as example, analyzes the moulding of Shenhexiting picture, Wangchuan picture and Mont Sainte-Victoire.

关 键 词：王原祁 《深壑溪庭图》 《辋川图》 

分 类 号：J212[艺术—美术]