“革命纪念地”图式的趣味与变化——黎雄才20世纪中期的主题性山水画  

The Interest and Change of“Revolutionary Memorial Site”Schema:Li Xiongcai’s Theme-based Landscape Paintings in the Mid-20th Century

作　　者：胡宇[1] Hu Yu(Guangzhou Academy of Fine Arts)

机构地区：[1]广州美术学院

出　　处：《美术》2024年第12期92-99,共8页Art Magazine

摘　　要：在黎雄才创作于20世纪50年代至70年代的作品中,有一批表现革命纪念地的主题性山水画往往为学界所忽视,本文拟从这批主题性山水画入手,对黎氏其间的风格变化展开分析。在这批主题性山水画中,画家对现实生活的关注和描绘代替了传统文人世界避世山水的图式营造,笔墨趣味也发生了明显的变化。在传统与现代之间,黎氏审慎地把握着一种“度”,并在20世纪中国画转型的探索道路上走出了传统型山水画家中的“最优解”。Among paintings created by Li Xiongcai from the 1950s to the 1970s,a number of theme-based landscape paintings depicting revolutionary memorial sites are often ignored by the academic community.This article tries to analyze these paintings and Li’s change of style.Li payed attention to and depicted real life,instead of taking a secluded attitude like other traditional landscape painters.Li Xiongcai’s painting interest also changed significantly.He kept a“balance”between tradition and modernity,and,as a traditional landscape painter,he found an“optimal solution”to exploring the transformation of the Chinese painting in the 20th Century.

关 键 词：黎雄才 山水画 国画改造 主题性创作 图式趣味 

分 类 号：J21[艺术—美术]