写生、想象与宣传——新中国美术现代转型中的李斛夜景山水创作  

Sketching,Imagination and Publicity:Li Hu's Night-scene Landscape Painting Creation in the Modern Transformation of Art of New China

作　　者：季海洋 Ji Haiyang(School of Arts and Communication,Beijing Normal University)

机构地区：[1]北京师范大学艺术与传媒学院

出　　处：《美术》2023年第11期86-95,共10页Art Magazine

基　　金：2018年中央高校基本科研业务费专项资金资助项目《近现代中国视觉文化研究》(项目号:310422123)的阶段性研究成果。

摘　　要：李斛的夜景山水作品与社会生活联系紧密。20世纪40年代以人物画背景的形式出现,20世纪50年代至70年代表现了新中国建设的速度与成就,激发了观众对美好生活的想象与情感认同。前期的创作手法以写生、写实、典型化为导向,而后则加入综合与想象,创造了空间与时间双重意义上的远景。在李斛的创作过程中,可以看到文艺政策与画家个人创作意识之间的调适,其夜景山水创作拓宽了中国画的表现力,参与了民族国家形象的建构,是中国画现代转型过程中的一种重要探索。Li Hu's night-scene landscape paintings are closely related to social life.In the 1940s,his paintings were mainly figure paintings,and those created between the 1950s and the 1970s demonstrated the fast development of New China and achievements made in this process,inspiring people's imagination of and aspiration for a better life.In terms of techniques,he attached importance to typical,realistic sketching in the early period and later added imagination and overall consideration,creating a distant view in both space and time.Through his artworks,one can see the adjustment of an artist 's creation thoughts to literary and artistic policies.His night-scene landscape paintings have made Chinese paintings more expressive,helped build the national image,and been considered as an important exploration in the modern transformation of Chinese paintings.

关 键 词：李斛 写生 夜景山水 新中国美术 现代转型 

分 类 号：J212[艺术—美术]