刍议黄宾虹的“宿墨”法创新与民族观念建构  

A Brief Discussion on Huang Binhong's Innovation of"Sumo"Technique and Development of National Ideas

作　　者：王惠玉 毛建波[1] Wang Huiyu;Mao Jianbo(the School of Art and Humanities,China Academy of Art)

机构地区：[1]中国美术学院艺术人文学院

出　　处：《美术》2023年第10期72-82,87,共12页Art Magazine

摘　　要：中国画以“笔墨”为核心渊源已久,黄宾虹在继承笔墨传统的基础上,对画史上原本很少被关注的“宿墨”进行了发掘与创新运用,从理论与实践层面上对中国画的时代困境进行了探索与回应,最终以“浑厚华滋”的艺术风貌与“五笔七墨”的画学思想交相辉映,成为近现代画史上的集大成者。通过“五笔七墨”系统学说的内在考察,可知黄宾虹将笔墨提升到了“民族性”高度,在特定的时代背景下别有深意与创见。The Chinese painting has taken"brushstroke and ink"as its core for a long time.While carrying forward brush and ink traditions,Huang Binhong has innovated the"sumo"technique that has received little attention in painting history and explored ways to respond to the dilemma faced by the Chinese painting from theoretical and practical aspects.He finally became a master in modern and contemporary painting history,who had a"rich and vigorous"artistic style and developed the painting theory of"five brushstrokes and seven ink techniques".An examination of this theory shows that the artist has brought paintings to a"national"level,which was meaningful and innovative in a certain era.

关 键 词：黄宾虹 五笔七墨 宿墨 浑厚华滋 民族性 

分 类 号：J212[艺术—美术]