潘诺夫斯基图像学视角下的《流民图》解读  

Interpretation of the Map from the Perspective of Panowski Imagography

作　　者：苟博良 GOU Boliang(Academy of Fine Arts,Hunan Normal University,Changsha Hunan,410012,China)

机构地区：[1]湖南师范大学美术学院,湖南长沙410012

出　　处：《文化创新比较研究》2024年第28期10-14,共5页Comparative Study of Cultural Innovation

摘　　要：文章通过潘诺夫斯基图像学方法论的基本原理,对蒋兆和先生的《流民图》进行了三个层次的分析。从最基本的画面内容入手,结合时代背景、作者经历、创作动机等方面,建构出《流民图》的内涵与价值。《流民图》的表现形式以及所蕴含的精神价值,展现出蒋兆和独具一格的创作思维。他对写实水墨人物画的探索历程,以及他独特的艺术观,对于现当代水墨人物画的创作,仍有许多值得借鉴和学习之处。相比他的技法,在绘画表现形式更加多元、繁杂化的当今,蒋兆和的绘画艺术价值观念,以及以真、善、美的思维去创作艺术的心态,或许能带给我们更多值得思考的东西。The article conducts a three-level analysis of Mr.Jiang Zhaohe's Refugee Map based on the basic principles of Panofsky's image methodology.Starting from the most basic visual content,combined with the historical background,author's experience,creative motivation,and other aspects,construct the connotation and value of Refugee Map.The form of expression and the spiritual value contained in Refugee Map demonstrate Jiang Zhaohe's unique creative thinking.His exploration of realistic ink figure painting,as well as his unique artistic perspective,is still worth leaming and emulating for the creation of modern and contemporary ink figure painting.Compared to his techniques,in today's more diverse and complex forms of painting expression,Jiang Zhaohe's artistic values in painting,as well as his mindset of creating art with truth,goodness,and beauty,may bring us more things worth thinking about.

关 键 词：潘诺夫斯基 图像学 蒋兆和 《流民图》 水墨人物画 现实主义 

分 类 号：J205[艺术—美术]