黄胄与20世纪少数民族题材美术创作  

Huang Zhou and Art Creation Themed on Minorities in Twentieth Century

作　　者：宋晓霞 Song Xiaoxia

机构地区：[1]中央美术学院人文学院

出　　处：《美术》2019年第2期88-92,共5页Art Magazine

摘　　要：黄胄的艺术启蒙建立在五四新文化运动中所建构的"走向生活"观念之上。20世纪五六十年代,他开创了"在生活中起草稿"的人物画新范式,以"写生——速写——创作"的范式,闯出了一条新时代人物画的独特道路。20世纪80年代,黄胄以边疆少数民族地区作为"创作基地",通过强化速写语言的表现性,创造性地解决了中国画写实与写意的关系;通过营造情韵交织的氛围使造型与笔墨有机互动、彼此生发,在写实人物画史上开创了以生活的强烈感受为引导、集时代之气的写意精神。边疆少数民族地区的风土人情及其社会生活,由于与他的个性天赋深相契合,使之在少数民族美术题材美术创作中成就了独一无二的艺术风貌,并确立了自己的画史地位。Huang Zhou's art enlightenment was based on the concept of "moving to the life"established in the May Fourth New Culture Movement.In 1950s and 1960s,he created a new normal form of figure painting of"drafting in the life"following the steps of painting from life,sketching and creation,which became a special path of figure painting in a new era.In 1980s,taking the minority nationality regions as the creation base,Huang managed the relationship between realism and freehand brushwork creatively by intensifying the expressiveness of sketch.Through constructing the affectionate atmosphere to promote the interaction of the modeling and brushwork,he also created the vivid spirit reflecting the strong sense to life and the appearance of an age in the history of realistic figure paintings.Because his individual talent accorded with the local manners and social life in minority nationality regions,Huang formed the unique style in art creation themed on minorities and established his status in art history.

关 键 词：现代美术 边疆少数民族题材 写实与写意 造型与笔墨 

分 类 号：J209[艺术—美术]