中西绘画的光色观念调和——以二十世纪中期至二十一世纪初期的中国彩墨画为例  

Harmony of Light and Color Concepts in Chinese and Western Painting:A Case Study of Chinese Ink Painting from the Mid-20th Century to the Early 21st Century

作　　者：杨语晨 Yang Yuchen(Sichuan Conservatory of Music)

机构地区：[1]四川音乐学院

出　　处：《色彩》2024年第9期64-66,共3页Color

摘　　要：有关中西艺术融合概念和衍生作品的解读角度众多。其中,中西光色概念调和下的二十世纪中期至二十一世纪初期的中国彩墨画值得更进一步深入探讨。它引起了中西艺术的深刻交融,探索了独属于近现代的艺术全球化土地上的具有代表性的光色绘画,并带给了当代艺术工作者更多思考。中西绘画都具有极强的封闭性,难以相互融和,但在这条融合道路上仍产生了集大成者。本文以重点画家林风眠、李可染和田黎明的代表画作为例,展现他们对中西光色概念的杂糅与理解。There are many perspectives on interpreting the concept of the integration of Chinese and Western art and its derivative works.Among them,the Chinese ink painting from the mid-20th century to the early 21st century under the concept of harmony between Chinese and Western light and color deserves further in-depth exploration.It has sparked a profound integration of Chinese and Western art,explored representative light color painting on the land of artistic globalization that is unique to modern times,and brought more thoughts to contemporary artists.Both Chinese and Western painting have a strong sense of closure,making it difficult to integrate with each other.However,on this path of integration,there have still been great achievements.This article takes the representative paintings of key painters Lin Fengmian,Li Keran,and Tian Liming as examples to demonstrate their blending and understanding of Chinese and Western concepts of light and color.

关 键 词：光 色 彩墨 交融 

分 类 号：J206.3[艺术—美术]