“十七年”时期国画家王仙圃的身份及创作转型——兼谈黑龙江地区的“中国画改造”(上)  

Wang Xianpu's Identity and Creation Transformation in the"Seventeen Years"Period——On the"Transformation of Chinese Painting"in Heilongjiang Province(One)

作　　者：齐克达 于冠超 Qi Keda;Yu Guanchao(Harbin Normal University,Harbin 150080;Heilongjiang University,Heilongjiang Harbin 150006)

机构地区：[1]哈尔滨师范大学,黑龙江哈尔滨150080 [2]黑龙江大学,黑龙江哈尔滨150006

出　　处：《内蒙古艺术学院学报》2023年第2期145-150,共6页Journal of Inner Mongolia Arts University

基　　金：2021年度国家社科基金艺术学一般项目“东北地区现代美术运动研究(1931-1945)”(项目编号:21BF099)的阶段性研究成果;黑龙江省艺术科学规划项目“新水彩画人文主题创作与表现研究”(项目编号:2020B001)的系列研究成果。

摘　　要：本文以东北哈尔滨著名国画家王仙圃先生,在新中国“十七年”时期的创作经历与绘画作品为研究线索,通过对其艺术经历与艺术创作转型的考察分析,试图揭示出这一历史时期有着传统中国画学养背景并耕耘在边疆省份的地方画家,在中国画“改造”的时代语境下,对其时主流文化推行的艺术理念的接受程度、回馈方式及呈现面貌,并以此来印证绘画作品与地域文化、时代背景的相互关系,进而深刻分析研究新中国“十七年”时期黑龙江地区中国画的发展历程与创作情境,为这段逝去不远的历史瞬间,提供一个典型的研究个案和史实注脚。Based on Wang Xianpu's creation experience and works during the"17th"period of New China,this paper attempts to reveal the local painters in frontier provinces who have the background of traditional Chinese painting learning in that period through the investigation of his artistic experience and artistic creation transformation.In the context of the"transformation"of Chinese painting,the acceptance degree,feedback way and presentation of the prevailing artistic concept at that time are verified,and the relationship between the works and the regional culture and the background of The Times is verified,and then the development process and creation situation of Chinese painting in Heilongjiang region in that period are analyzed.

关 键 词：新中国“十七年”时期 黑龙江地区 中国画改造 写生 创作 

分 类 号：J20[艺术—美术]