赵望云抗战时期的美术实践与艺术思想——兼论长安画派的思想源头  

Zhao Wangyun's Art Practice and Thought in the War of Resistance Against Japan On the Ideological Origin of the Changan School of Painting

作　　者：张俊杰[1] 屈健[1] 

机构地区：[1]西北大学艺术学院,陕西西安710069

出　　处：《西北大学学报（哲学社会科学版）》2018年第1期160-165,共6页Journal of Northwest University：Philosophy and Social Sciences Edition

基　　金：国家社会科学基金项目(14EF152)

摘　　要：赵望云抗战时期的美术实践和艺术思想,对"长安画派"的最终形成发挥了开拓与奠基的作用。他提倡"平民主义"的艺术理想、"现实主义"的艺术主张、向生活和传统学习的艺术法则,开创了长安画派的思想先河,由此打通了艺术家的个人生活与社会生活、国家意志之间的内在联系,打破了以往艺术家"为艺术而艺术"的"小我"局限,将艺术家的内心世界与民族、国家、社会的命运紧密相连,形成了艺术家的"大我"情怀。其艺术实践对于中国画的现代创新有一定的开拓意义,显示出强烈的时代特征。During the War of Resistance against Japan,Zhao Wangyun's fine arts practice and artistic thought refinement played an important role in opening up and laying a foundation for the eventual promotion of the Chang'an painting school. The artistic ideal of " Populism" advocated by him,the art concept of realism and the art rules of learning from life and tradition created the thought of " Changan Painting School ". Thus,through the relationship between the artist's personal life and social life of the common people,the will of the state of production and lifeing breaking the previous artists " art for art" and " ego" limitations,will be the artist's inner world and nation and the destiny of society are closely linked,formed with the concern of society "my feelings". It has certain exploration significance to the modern innovation of Chinese painting,and shows the strong characteristics of the times.

关 键 词：赵望云 抗战时期 美术实践 艺术思想 长安画派 

分 类 号：J120.9[艺术—艺术理论]