陕西当代山水画从创作共性到多维取向的转型  

The Multiple Dimensions of Art-Creating Strategies Within Shaanxi Landscape Paintings

作　　者：孙文忠[1,2] SUN Wen-zhong(School of Fine Art,Shaanxi Normal University Xi’an 710119,Shaanxi;School of Fine Art and Design,Sichuan University of Culture and Art,Mianyang 621000,Sichuan)

机构地区：[1]陕西师范大学美术学院,陕西西安710119 [2]四川文化艺术学院美术设计学院,四川绵阳621000

出　　处：《陕西师范大学学报（哲学社会科学版）》2020年第6期162-167,共6页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：陕西省社会科学基金项目“陕西当代山水画发展与创新研究”(08K007)。

摘　　要：长安画派是超越地域所限,获赞全国的美术流派。其代表人物赵望云、石鲁、何海霞等均具有强烈的时代感和创新的激情,将“一手伸向传统,一手伸向生活”作为创作宗旨;自觉进行“融汇—探索—创新”的艺术追求;创作题材既表现大西北的自然风光,又表现黄土高原的山川风物,还描绘新中国各行业建设的欣欣向荣景象。相较于长安画派山水画的第一代,陕西山水画创作又经历了两代人的发展。在新的时代语境下,第二代、第三代画家们的创作呈现出多维取向的显著特征,在绘画追求、绘画技法、绘画风格等多个方面多有体现。从更高层面而言,这种多样性绘画追求的艺术史价值,还需要艺术家的评论、鉴赏家的品鉴及历史的选择。但其探索却非常可贵,提供了反观的案例。Chang’an painting school has been highly praised by scholars and artists from all over China in the sense of distinguished pieces of art and artists,the overwhelming popularity broke through regional restrictions.School representatives Zhao Wangyun and Shi Lu bring together the concept of“tradition on one hand,reality on the other hand”.They scope the themes on nature landscapes in North-west China,in the Loess Plateau and the scenes of thriving construction in China,and they approached the process as“syncretism-exploring-creation”.Comparing to Chang’an art school,landscape paintings in contemporary Shaanxi applied sophisticated and multiple dimension creating strategies,such as painting skills and painting styles.These new art creating strategies will be inspected by practice and markets.

关 键 词：长安画派 地域画派 山水创作 绘画技法 绘画风格 

分 类 号：J2[艺术—美术] J21