民族形象的塑造与建构——从黄山图像到黄山写生  

The Shaping of National Image:From the Image to the Sketches of the Huangshan Mountain

作　　者：张琴玉 Zhang Qinyu(Jingdezhen Ceramic University)

机构地区：[1]景德镇陶瓷大学美术学院

出　　处：《美术》2025年第4期17-24,共8页Art Magazine

摘　　要：本文探讨黄山被塑造和建构为民族象征的过程,深入分析黄山从名山到图像,再到民族精神象征的确立,剖析其历史渊源和建构历程。明末以降,各方对黄山进行开发和宣传,包括以渐江为代表的画家们对黄山的写生,使黄山自此成为民族形象的代表。黄山民族形象的视觉建构,从明末清初画家渐江、石涛等人走进黄山以笔墨抒写黄山精神,到20世纪初在“黄社”的传播下,黄山的民族形象和民族精神不断深化,直至在张善孖、张大千、黄宾虹等名家的影响下,“黄山写生热”被再次掀起,使更多的山水画家延续黄山写生传统,对景写生,再次续写黄山精神。This article discusses the historical origin and process of the Huangshan Mountain,a famous mountain in China,being painted and established as a national symbol.Since the end of the Ming Dynasty,many people have developed and publicized the mountain,including the sketching of painters represented by Jian Jiang,which made the mountain a symbol of the Chinese nation.Specifically,during the late Ming Dynasty and the early Qing Dynasty,Jian Jiang,Shi Tao and other painters depicted the mountain to express Huangshan spirits;in the early 20th Century,the publicity of the Huangshan Society made the mountain a national image and a symbol of national spirits;under the influence of famous painters,including Zhang Shanma,Zhang Daqian and Huang Binhong,a sketching craze appeared again and encouraged more landscape painters to carry forward the sketching tradition and Huangshan spirits.

关 键 词：民族形象 黄山图像 写生热 新安画派 黄社 

分 类 号：J212[艺术—美术]