韩乐然的新疆写生及其少数民族女性形象塑造——以创作视野与线型、色彩的民族性为中心  

Han Leran's Xinjiang Sketches and the Creation of Minority Women's Images---Centered on the creative vision and the national character of lines and colors

作　　者：唐然 Tang Ran(School of Fine Arts,Nanjing University of the Arts,Nanjing Jiangsu 210013)

机构地区：[1]南京艺术学院美术学院,江苏南京210013

出　　处：《流行色》2022年第10期112-114,共3页Fashion Color

摘　　要：二十世纪四十年代,艺术家韩乐然赴新疆少数民族地区考察写生,以新疆少数民族女性为主体形象创作了大量的新疆风俗画,再现了新疆少数民族在特定地域环境和历史文化中所形成的民族美感,亦通过风俗画中少数民族女性形象的视觉塑造,深刻反映出新疆少数民族女性的生活与文化,极具民族学、人类学、社会学之研究价值。就绘画的风格与形式而言,韩乐然在新疆艺术创作的过程中致力于对传统艺术的研学,探索民族性的绘画语言,经由个人化的艺术表现塑造出少数民族女性崭新的视觉模式,进而建构出中国美术本土性、民族性的视觉范式。In the 1940s,the artist Han Leran went to the minority areas in Xinjiang to investigate and draw from life,and created a large number of Xinjiang genre paintings with Xinjiang minority women as the main image,which reproduced the ethnic beauty of Xinjiang minorities in the specific regional environment and historical culture,and also deeply reflected the life and culture of Xinjiang minority women through the visual shaping of the ethnic women images in the genre paintings,It is of great research value in ethnology,anthropology and sociology.As far as the style and form of painting are concerned,Han Leran is committed to studying traditional art in the process of Xinjiang art creation,exploring the national painting language,shaping a new visual model for ethnic minority women through personalized artistic expression,and then constructing a visual paradigm of Chinese art localization and nationality.

关 键 词：韩乐然 新疆写生 少数民族 女性形象 

分 类 号：J20[艺术—美术]