“折衷中外,融合古今”之延续——关山月莫高窟临画研究  

Continuing“Integration of Chinese and Western,Combination of Ancient and Contemporary”:Study on Guan Shanyue’s Mogao Grottoes Paintings

作　　者：冯菡子 Feng Hanzi

机构地区：[1]澳门城市大学 [2]韩山师范学院

出　　处：《美术》2021年第1期107-112,118,共7页Art Magazine

摘　　要：20世纪30年代至50年代,关山月赴澳避战,辗转西南,奔赴敦煌,马踏西北,游历东南亚。其中敦煌之行对其影响至深,是关氏对岭南画派"折衷中外,融合古今"理念的艺术实践,更由此开启自身人物画风之变革。本文围绕关氏莫高窟临画表现而展开研究,着重分析师门传承、佛门渊源对关氏敦煌之行的影响;通过比较关氏与同时期画家临画的差异,从中解析关氏独特的书写性临摹;探讨关氏通过临画实践对岭南画派艺术理念的再思考,以及对此后人物画创作的影响。From the 1930 s to the 1950 s,Guan Shanyue went to Australia to stay away from the war.Guan traveled to Southwest China,Dunhuang,Northwest China,and Southeast Asia,among which Dunhuang exerted enormous influence on the artist,as it represents Guan’s practice of Lingnan Painting School’s philosophy of"Integration of Chinese and Western,Combination of Ancient and Contemporary"and initiates the painting style reform of figures.Focusing on Guan’s Mogao Grottoes copies,this paper explores the impact of his master and the Buddhism on Guan’s Dunhuang visit.Through a comparison of the differences between Guan’s and the other painters’in the same period,this paper explains Guan’s unique artistic calligraphy feature in painting.This paper aims to study Guan’s rethinking of Lingnan School’s art philosophy through his paintings and the influence on figure paintings that followed.

关 键 词：关山月 岭南画派 莫高窟 临画 

分 类 号：J209[艺术—美术]