曾杏绯艺术创作论  

On Zeng Xingfei’s Artistic Creation

作　　者：贾峰[1] JIA Feng(Institute of Culture,Ningxia Academy of Social Sciences,Yinchuan,Ningxia 750021)

机构地区：[1]宁夏社会科学院文化研究所,宁夏银川750021

出　　处：《回族研究》2021年第4期51-56,共6页

基　　金：“2018年宁夏青年哲学社会科学和文化艺术人才托举工程”阶段性成果。

摘　　要：曾杏绯是一位生于清代末年、成名于民国、成就于新中国的绘画艺术大家。她在继承"常州画派"艺术精髓的基础上,又在西北地域文化的滋养下,经过八十余年的艺术创作历程,通过个人生活实践、审美实践、创作实践,逐步形成了带有鲜明时代特征和个人审美追求的艺术创作主张。文章从继承与创新的辩证视角,解读了曾杏绯绘画艺术蕴含的传统基因密码与时代精神面貌;从写生与创新的逻辑关系,探讨了曾杏绯坚持"以自然为中心"的绘画写生观;从文化审美观念的角度,提炼出曾杏绯"中和""天真""诗意""风骨"的艺术追求与审美理想。Zeng Xingfei,a painting art master,was born in the late Qing Dynasty,became famous in the Republic of China,and got achievements in the new China. On the basis of inheriting the artistic essence of "Changzhou School of Painting",and under the nourishment of northwest regional culture,she has gradually formed her artistic creation idea with distinctive characteristics of the times and personal aesthetic pursuit through personal life practice,aesthetic practice and creative practice after more than eighty years of artistic creation. From the dialectical perspective of inheritance and innovation,this paper interprets the traditional gene code contained in Zeng Xingfei’s painting art and the spirit of the times. From the logical relationship between sketching and innovation,this paper discusses Zeng Xingfei’s view of "nature as the center" in painting sketching. From the height of cultural aesthetic concept,it extracts Zeng Xingfei’s artistic pursuit and aesthetic ideal of "neutralization", "innocence", "poetry" and "character".

关 键 词：曾杏绯 艺术创作观 绘画写生观 文化审美观 

分 类 号：J205[艺术—美术]