“隐”之道——陈树人的“抄景”纪游  

The Way of "Seclusion" :Chen Shuren Recorded His Trips by "Copying Scenery"

作　　者：魏祥奇[1] Wei Xiangqi(National Art Museum of China)

机构地区：[1]中国美术馆

出　　处：《美术》2024年第9期64-73,共10页Art Magazine

摘　　要：1927年,陈树人生活的重心从政治转向艺文,开始整理和陆续出版画集、诗集,以明心志。在绘画实践上,由先前带有强烈象征性和隐喻性意味的创作,转而专注于讴歌自然美的新绘画。及至40年代,游览了西湖、庐山、桂林、峨眉、三峡、嘉陵、剑门等名胜,并题以“抄景”纪游,建构了清峭的绘画语言风格,表现了寄情山林的逸致,进而彰显了隽朗的艺术“人格”与“国魂”。其视旅游为清游,多与家人友人同行,是“散得百千忧”的乐事,与同时代美术家旅行写生表现出的国家、民族、边疆意识迥然有异。纵览其纪游诗文和绘画,可见在传统与现代交汇的历史语境下,一位倡导文化革新者在介入与超脱之间的微妙心迹。In 1927,Chen Shuren shifted the focus of his life from politics to art and literature,and began to compile and publish painting and poem collections to make his mind clear.In terms of painting,he stopped creating paintings with strong symbolic and metaphorical meaning and focused on those eulogizing the beauty of nature.In the 1940s,he recorded his trips to the West Lake,the Lushan Mountains,Guilin,the Emei Mountains,the Three Gorges,the Jialing River and the Jianmen Pass by"copying scenery",devoting himself to natural scenery,developing a refreshing painting style and demonstrating artistic"personality"and"national spirits".Always travelling with families and friends,he regarded leisurely trips as a way of"dispelling all worries",which was different from artists of the same period who expressed their consciousness of country,nation and borders in sketching.His travel poems and paintings showed subtle feelings between involvement and detachment of a person who advocated cultural innovation in the historical context of tradition and modernity being intertwined with each other.

关 键 词：陈树人 艺术革命 抄景 旅行 纪游画 

分 类 号：J205[艺术—美术]