魏紫熙“先临摹、再写生”观点对于中国画风格创建的关键作用  

The Key Role of Wei Zixi’s Concept of“Putting Copying Before Sketching”in Establishing Chinese Painting Style

作　　者：华天雪[1] Hua Tianxue(Fine Arts Institute,Chinese National Academy of Arts)

机构地区：[1]中国艺术研究院美术研究所

出　　处：《美术》2024年第12期60-71,共12页Art Magazine

摘　　要：本文因纪念魏紫熙先生诞辰110周年而写。魏紫熙是由临摹入手、转益多师的传统型中国画家,但在中华人民共和国成立后的新形势下,从艺术观、创作思想到具体的表现方法都做出了极大的改变,特别是通过下乡下厂体验生活和到自然中写生,获得了很多新感受、新题材、新意境和形式感、构思的启发,彻底解决了“旧瓶装新酒”的问题,最终完成了个人风格面貌的创建,成为新人物画和新山水画领域的代表性画家。重视写生的魏紫熙在20世纪80年代后屡次阐述临摹之于中国画的重要性,并明确提出要“先临摹、再写生”的观点,即先掌握笔墨方法,再通过写生到自然中去验证和改进,这个临摹和写生的顺序不可颠倒,否则将难存中国画特征。这个观点至今仍有警示意义。This article is written to commemorate the 110th anniversary of Mr.Wei Zixi’s birth.Wei Zixi was a traditional Chinese painter who started painting from copying and emphasized learning from others,and made great changes in his artistic views,creation thoughts and specific techniques given the new situation after the founding of the People’s Republic of China in 1949.In particular,he gained new feelings,new themes,new artistic conceptions,and inspiration in form and thinking thanks to his experience in villages and factories and sketching in nature.In this way,he completely solved the problem of“new wine in old bottles”,and developed his own painting style,which made him a representative painter in new figure paintings and new landscape paintings.Wei Zixi,who attached great importance to sketching,has repeatedly explained the importance of copying to the Chinese painting since the 1980s,and put forward the concept of“putting copying before sketching”,which means learning painting techniques first and then practicing and improving them through sketching in nature.The order of copying and sketching cannot be reversed;otherwise it would be difficult to maintain the characteristics of the Chinese painting.This concept is still relevant today.

关 键 词：魏紫熙 临摹 写生 传统 

分 类 号：J21[艺术—美术]