实景与虚境:李可染山水写生中“光影”图式的建构、呈现与方法  

Real Landscape and Virtual Scene: The Construction, Presentation and Method of “Light and Shadow” Schema in Li Keran’s Landscape Sketch

作　　者：陈青青[1] Chen Qingqing(不详)

机构地区：[1]中央美术学院

出　　处：《美术》2021年第2期103-108,共6页Art Magazine

基　　金：2019年国家社科基金艺术学重大项目“新时代美术创作中的民族精神研究”(批准号:19ZD21)的研究成果之一。

摘　　要：新中国成立初期,百废待兴,李可染作为最早意识到山水画革新诉求的画家之一,以较大力度与决心进行传统山水画的革新,从"留白与虚实"、"积墨法与色阶法"、"明暗素描与写实造型"三个方面形成了有关山水画"光影"图式的表达,也带来了写生观看方式的变化。这不仅明确了在新文艺方针的指引下山水画所选择的方向与方法,还通过一系列实践为新中国山水画留下经典的时代印记,在这一过程中也逐渐构建出其"光影笔墨"的新体系。In the early days of New China, all that had been left undone was then being restarted. As one of the first painters to realize the demand for innovation in Chinese landscape painting, Li Keran carried out the innovation with great strength and determination, forming the light-and-shadow pattern of Chinese landscape painting in three aspects, namely, "blank and ink concentration", "ink accumulation method and color scale method", and "shading sketching and realistic modeling". He also brought about changes in the observing way of sketching. These innovations not only clarified the direction and methods of Chinese landscape painting under the guidance of the Hundred Flowers Campaign, but also left a classic mark of the times for the new Chinese landscape painting through a series of practices, and in this process gradually built up his new system of "light, shadow, brush and ink".

关 键 词：新中国 山水画 李可染 光影 

分 类 号：J209[艺术—美术]