山水法乳—鼎湖山与岭南画派山水画语言体系的建立  

The Teaching of Scenery Painting:How Dinghu Mountain Facilitated the Language System of Scenery Paintings of the Lingnan Painting School

作　　者：李若晴[1,2] Li Ruoqing

机构地区：[1]广州美术学院美术史系 [2]中国美协美术理论委员会

出　　处：《美术》2022年第2期94-100,共7页Art Magazine

基　　金：广州美术学院2019年度校级专项项目“二十世纪前期广东公立高等美术教育研究”(19XJZX10);广东省高校重点学科科研项目“近代岭南美术社团与区域竞争研究”的阶段性成果。

摘　　要：广东鼎湖山在晚清民国崛起,成为一处名胜。高剑父中年之后笃信释教,与山中的庆云寺结下不解因缘,多次入山写生、创作。其弟子关山月、黎雄才也创作了许多以鼎湖山为主题的山水作品。经过两代人的积累与探索,总结出一套成熟稳定的教学体系,成为岭南画派山水画语言体系的重要表征。本文以鼎湖山如何影响岭南画派绘画语言体系的建立为切入点,首先探讨鼎湖山有何特别之处,得以吸引高剑父等岭南画派画家的注意,继而分析鼎湖山于岭南画派山水画语言体系的建构产生何种影响,最后阐述高剑父及其弟子如何通过鼎湖山题材的写生创作,形成稳定的教学体系,进而产生覆盖性的影响。Dinghu Mountain,which is located in Guangdong Province,gained popularity as a scenery spot in the late Qing Dynasty and the early period of the Republic of China.Gao Jianfu,who embraced Buddhism at his middle age,became inextricably bound up with Qingyun Temple ever since and went there for painting repeatedly.Guan Shanyue and Li Xiongcai,who were both Gao’s students,also produced various scenery paintings themed with Dingshan Mountain.Thanks to the accumulation and exploration by those two generations,a mature and stable teaching mechanism has come into being and thus became a critical embodiment of the language system of scenery paintings of the Lingnan painting school.Taking Dinghu Mountain’s influence on the language system of scenery paintings of the Lingnan painting school as the original focus,the article examines the unique features of Dinghu Mountain that attracted artists like Gao Jianfu,then went into detailed impacts of the locality to the Lingnan painting school,and studied how Gao Jianfu and his students shaped a stable teaching mechanism with a large coverage by painting the scenery of Dinghu Mountain.

关 键 词：鼎湖山 高剑父 岭南画派 

分 类 号：J209[艺术—美术]