抗战时期人物画的继承与创新--以傅抱石、张大千《西园雅集》图为中心的考察  

Inheritance and Innovation in Figure Painting during the Period of the War of Resistance by the Chinese People against Japanese Aggression:An Examination Centered on Xiyuan Yaji by FU Baoshi and ZHANG Daqian

作　　者：罗婧文 熊火花[2] LUO Jingwen;XIONG Huohua(Sichuan Institute of Poetry,Calligraphy and Painting,Chengdu,Sichuan 610000,China;Department of Fine Arts and Design,Leshan Normal University,Leshan,Sichuan 614000,China)

机构地区：[1]四川省诗书画院,四川成都610000 [2]乐山师范学院美术与设计学院,四川乐山614000

出　　处：《内江师范学院学报》2024年第11期33-36,共4页Journal of Neijiang Normal University

基　　金：2022年四川省张大千研究中心项目“张大千《西园雅集图》研究”(ZDQ2022-09)。

摘　　要：在抗战时期,中国美术家强烈的民族意识和对中国绘画转换生机的渴求,为中国画的发展焕发出新的活力。抗战时期的中国古典人物故事绘画在坚守传统的画家笔下,突破了现实主义题材的束缚,为古典人物绘画的探索与发展提供了更多的可能性。研究抗战时期傅抱石及张大千创作的《西园雅集》图,具有重要的历史价值与时代意义。During the period of the War of Resistance by the Chinese People against Japanese Aggression(1931-1945),the collective national consciousness of Chinese artists and their yearning for revitalizing Chinese painting infused new vitality into the development of Chinese art.The classical narrative paintings of this period were crafted by artists committed to tradition.The artists transcended the constraints of realistic themes,thereby providing greater possibilities for the exploration and development of classical figure painting.Hence,the study of FU Baoshi and ZHANG Daqian’s creation of Xiyuan Yaji during the wartime is of historical value and significance.

关 键 词：人物画 《西园雅集》 抗战时期 傅抱石 张大千 

分 类 号：J204[艺术—美术]