再造河山——“两万三千里”国画写生与钱松喦的笔墨之变  

Recreating Mountains and Rivers:The "Twenty-three Thousand Miles" of Chinese Painting Sketching and Changes in Qian Songyan's Paintings

作　　者：王常浩 Wang Changhao(Central Academy of Fine Arts)

机构地区：[1]中央美术学院

出　　处：《美术》2025年第2期96-101,共6页Art Magazine

摘　　要：1960年,钱松嵒参加了江苏省国画院组织的“两万三千里”国画写生运动,创作了一批具有代表性的革命圣地题材山水画作品。本文以这批主题性山水创作为线索,对钱松喦的风格变化展开分析。进而指出,在特定的历史语境下,国家话语、集体写生与个体情感的同频共振,促使钱松嵒将革命精神与新中国山水画创作相结合,在主题思想、精神内涵、笔墨表现等诸多方面取得了创新突破,开拓了革命圣地题材山水画表现的新形式。Qian Songyan created a number of representative landscape paintings of revolutionary sites while participating in the "Twenty-three Thousand Miles" of Chinese Painting Sketching organized by Jiangsu Provincial Chinese Painting Institute in 1960.This article analyzes changes in Qian's style according to these landscape paintings,and points out that given a specific historical context,the coordinated national discourse,group sketching and individual emotions have prompted him to combine revolutionary spirits with the creation of new Chinese landscape paintings,make breakthroughs in many aspects such as themes,spiritual connotation and expression,and create a new form of landscape painting on revolutionary sites.

关 键 词：钱松嵒 新国画 革命圣地题材 笔墨 

分 类 号：J21[艺术—美术]