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蒋兆和

现代人物画家,是现代卓越的人物画家和美术教育家。他在传统中国画的基础上融合西画之长,创造性的拓展了中国水墨人物画的技巧,其造型之精谨,表现人物内心世界之深刻,在中国人物画史上达到了一个新的高度。曾任南京国立中央大学(国立中央大学1949年更名为南京大学)、中央美术学院教授。

  • 中文名蒋兆和
  • 别名万绥
  • 性别
  • 国籍中国
  • 民族汉族
  • 祖籍四川泸州
  • 出生地四川泸州
  • 出生日期1904年5月9日
  • 逝世日期1986年4月15日
  • 职业画家、教育家
  • 代表作品《小孩子与鸽子》
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水墨人物大师:蒋兆和作品拍卖行情后市强劲(作者:秦杰)

中国美术网 09-17 浏览

来源:《西安晚报》  不久前,中国嘉德2009秋拍的“新中国美术”夜场中,现代水墨人物画大师蒋兆和作于1949年10月1日的《中国人民从此站起来了》以1904万元人民币高价成交...
人物简介
《流民图》作者蒋兆和先生珍贵教学绘画视频

蒋兆和(1904—1986)被称为20世纪中国现代水墨人物画的一代宗师,中国现代画坛独领风骚的艺术巨匠。蒋兆和学贯中西的代表作《流民图》,以其前所未有的宏大、悲壮,以浑厚有力的笔触揭示了大师至真至善的人性,倾泄着对战争的愤怒,表达了对正义与和平的呼唤,为现代中国水墨人物画在世界艺坛上确立了光荣的地位。
蒋兆和是“五四”运动以来极具变革思想的艺术家之一,中国现代著名画家和美术教育家,中央美术学院教授,为徐悲鸿写实主义绘画体系的重要人物。在徐悲鸿先生的影响下,他集中国传统水墨技巧与西方造型手段于一体,在“写实”与“写意”之间架构全新的笔墨技法,由此极大地丰富了中国水墨人物画的表现力,使中国的水墨人物画由文人士大夫审美情趣的迹化转换为表现人生、人性,表达人文关怀,呼唤仁爱精神的载体。
蒋兆和在水墨人物画领域中把中国画特有的造型魅力最大化,使中国的现代水墨人物画一跃而并立于世界现实主义绘画的行列。
 

生平经历

蒋兆和,祖籍湖北麻城,生于四川泸州;原名万绥,1904年生,自幼家贫。1920年至上海,曾画广告,从事服装设计,并自学西画。
1927年受聘于南京国立中央大学(国立中央大学1949年更名为南京大学),为图案系教员。1930-1932年任上海美术专科学校素描教授,并参加临时青年爱国宣传队绘抗日宣传画。
1935年至北平,次年返四川正式开始现代水墨人物画创作。1937
年春返北平,任京华美术学院教授、北平艺术专科学校教师,并举办个展。1947年受聘于国立北平艺专。
中华人民共和国成立后,1950年起任中央美术学院教授,曾当选中国美术家协会第2、3届理事,为第4届顾问,中国文联委员,中国画研究院院务委员,第3、4、5、6届全国政协委员,民盟中央文教委员会委员。
改革开放之初,蒋兆和站在新落成的首都国际机场候机厅那幅画着裸体少女的壁画前多次称“好”。蒋兆和始终是以一个博大学人的胸怀看待中国的艺术、看待西方的艺术、看待未来的艺术的。在他从教的五十年间,创立了一整套培养和造就现代水墨人物画人才的教学体系,几十年来,已是桃李芬芳,更多的艺术家走上了“为人生而艺术”的创作道路;他的许多作品至今仍然是后人仰慕至极难以超越的写实主义水墨人物画的至高点。
记者先生出版有《蒋兆和画册》、《蒋兆和画集》、《蒋兆和画选》等;发表有《国画人物写生的教学问题》、《关于中国画的素描教学》等论文。

绘画风格

蒋兆和的艺术可以分为两个时期:
前期
以素描为基础,从写生入手,将西洋画的速写和中国画的白描融合在一起,并以骨法用笔和以线造型的传统国画方式来创作。代表作品是揭示当时深受苦难的中国最底层小人物悲惨的命运的《流民图》。
晚期
他吸取中国传统水墨技巧和传统人物画重神韵、重笔墨情趣的优长,在写实与写意之间架构全新的笔墨技法,使中国的水墨人物画由文人士大夫审美情趣的迹化转换为表现人生、人性,表达人文关怀、呼唤仁爱精神的载体。

代表作品

杜甫像》
杜甫像》画于1959年,这个时期正是蒋兆和艺术创作的高峰期,他在把握光影与造型结构能力上,达到了一个新的高度。画面上,他用素描的明暗法结合传统人物画重结构的线描手法,表现“诗圣”的孤寂与傲骨。一改传统绘画中塑造人物的概念化倾向,着力刻画杜甫的个性特征,注重人物的心理描绘,但不拘泥于文人画的程式和规范,用笔大胆、粗放和自由。通过着力刻画诗人的面部表情,让人油然体会“诗圣”忧国忧民却又压抑无奈的心境,整个画面充满悲愤苍凉的色彩。
《流民图》
《流民图》是一幅在抗日战争时期在沦陷区诞生的反战巨作。

关于《流民图》,徐悲鸿在《四十年来北京绘画略述》中是这样提及的,“在沦陷之前,蒋兆和已以新中国画在故都成名,沦陷期间,蒋曾写大幅《流民图》出陈于太庙,末一日,即受日本人干涉,蒋即携画奔上海,此画今无下落”。

这幅画后来找到了,虽残破更显其弥足珍贵。后来萧琼先生将它捐给中国美术馆,成为馆藏的国宝。

全作品通过对100余位无家可归者躲避日军轰炸、在死亡线上挣扎的痛苦情状的塑造,展现出由侵略者造成的饿殍遍地、生灵涂炭的人间悲剧。画面没有直接出现烧杀抢掠的侵略者形象,而是通过一个个满面愁容、疲惫不堪、倒地而息的人物群像,揭示了侵略者给中华民族造成的国破家亡的毁灭性创伤。

《流民图》以史诗般的艺术形式,揭示了战争的苦难,在中国美术史与世界美术史上有着重要的地位。

艺术评价

蒋兆和徐悲鸿林风眠是20世纪中国画改革三大家。在改造中国传统人物画方面,蒋兆和结合自身的成长经历,在画中表现下层人物的艰苦,形成“满纸穷相”。正如刘墨所言,从蒋兆和开始,中国艺术能够直接面对痛苦而惨淡的人生了。受到徐悲鸿的指点,蒋兆和汲取西画有用因素来发展中国现代水墨人物画,继续发展徐悲鸿开创的改革中国画之路。
蒋兆和(1904-1986年),四川泸州人,中央美术学院教授。曾辗转上海、南京、北京等地,以画广告、肖像、服装设计、美术教育等谋生,并自学素描、油画、雕塑、图案。

  蒋兆和运用国画的笔墨纸色,以“骨法用笔”为原则,以丰富的线(即笔法)树立形象的骨干,又吸收山水画的技法,附以皴擦和墨法以充实人物的结构,既体现了中国画的造型规律,又融入了西洋素描表现体积和结构之长。他以国画为本,吸收西洋艺术的科学成分,冶中西艺术于一炉,而使国画人物的表现技法有了创造性的发展。
作品多为“满纸穷相”的人而画

  蒋兆和在改造中国传统人物画方面,是一位不可忽视的画家。1904年蒋兆和生于四川泸州穷困的书香门第之家,自幼好学诗文书画,10岁便能为人画像。16岁起,蒋兆和辗转于上海、南京、北平、四川等地,从事为人画像、商业美术、美术教育,并自学素描、油画、雕塑、图案,但苦于无人指导。

  后结识徐悲鸿,他对蒋兆和留学法国一事多番费心,不仅安排蒋兆和跟随蒋碧薇女士学习法文,还申请了500元留学官费。即便如此,蒋兆和还是没有去成,因此为陈传席惋惜,一是他太穷,二是文化不高,三是外语不通,造成出国留学有困难。

  不过这并未成为蒋兆和绘画的绊脚石。也正因为这样的艰苦,激发了他对绘画的坚定信念,后天主动摸索油画、素描等。对此,陈传席表示,比起许多受正规美术教育、经名师指点的学生,这是蒋兆和的天赋与勤奋在起作用。他还透露,蒋兆和连大学门都没进过,24岁时,却被中央大学聘请去教图案,因为他的图案设计作品在上海的美术展览会上很出色。勤奋补阙了他早年错过的学艺时光。
在题材与风格上,由于幼年的境遇,他的画很自然地同情劳苦大众。这在他的画册中有所体现,“识吾画者皆天下之穷人,唯我所同情者,乃道旁之饿殍……但不知我们为艺术而艺术的同志们,又将作何以感?作何所求?!”因此,他的作品多为“满纸穷相”的人而画。刘墨认为,从蒋兆和开始,中国艺术不仅可以表现固有的超然、高雅,同时也能够直接面对痛苦而惨淡的人生了。

  而为艺术界所公认,蒋兆和“满纸穷相”的代表作当属1941-1943年创作的《流民图》。这幅画卷高2米,长约26米,全图共有100多人。蒋兆和深入北京、上海、南京一带的日伪占领区,画了大量速写,打破了自己以往多作单人肖像的画法,是中国画史上自敦煌壁画、永乐宫壁画之后最大型的人物画。刘曦林认为,《流民图》虽是巨幅宏构,整个看来却类如群像构图,它是用了许多可以互相独立的肖像、肖像的组合,展示了一幕历史的悲剧。他进一步表示,作品没有直接把悲剧冲突诉诸画面,但却通过人物内心世界的丰富性来揭示悲剧命运,具有深沉的悲剧气氛。刘墨指出,它是一个里程碑式的作品。
徐悲鸿是开拓者 蒋兆和是发展者

  蒋兆和师法并非一成不变。刘曦林透露,由于父辈均长于书画,蒋兆和幼年便受到民族传统艺术熏陶,少年时代,他对山水、人物、花鸟和书法都已有基本素养。从家乡到上海后,因画广告谋生需要,他开始攻习西画,积十余年自修,对于素描、油画、雕塑语言有了较多理解。又因其多接触写实的一派,天资颖慧,勤于钻研,故有了坚实的造型能力。

  在现代中国绘画史上,徐悲鸿与蒋兆和均是中国人物画大家。1927年,蒋兆和结识徐悲鸿,并在他的指导与影响下,个人风格发生重大变化。这在蒋兆和的《徐悲鸿——回忆徐悲鸿专辑》中有所体现,“在结识徐悲鸿之前,由于我的境遇,很自然地同情劳苦大众,并用写实的手法去揭示他们悲惨的命运,但还不是很自觉地走这条道路。通过徐悲鸿的提醒,在我思想上更加明确起来。多年来我在创作和教学中都是遵循着现实主义创作道路,并在徐悲鸿的鼓励和启发下,扎扎实实地把握造型本领,从西画中汲取有益的科学因素……发展中国现代水墨人物画。”因此,蒋兆和认为,“拙作之采取‘中国纸笔墨’,而施以西画之技巧者,乃求其二者之精,取长补短之意,并非敢言有以改良国画,更不敢以创造新途。”陈传席认为,蒋兆和的成功是受到徐悲鸿的启导,走的是徐悲鸿倡导的艺术道路,故应成为“徐蒋系统”。

  在“徐蒋系统”里,尤其在人物画上,陈传席指出,徐悲鸿是开拓者,蒋兆和是发展者。具体怎么理解?陈传席进一步指出,徐悲鸿用严谨的线条勾勒出轮廓,其后,人体的凹凸、明暗以及各组织结构处,均用水墨画素描。然而,徐悲鸿素描本来很精致,用水墨画素描,又十分谨慎小心,故严谨精确有余,生动潇洒不足。但徐悲鸿开辟了一条新的道路——以素描为基础,改革发展中国画,而蒋兆和便在这条道路上发展。陈传席继而总结,“和徐悲鸿的素描式国画人物相比,蒋兆和的人物画严谨不及,而生动过之。”

  晚年笔墨“实在没有精彩之处”

  徐悲鸿国学基础甚厚,出口成诗,精通书法,留学海外。而蒋兆和由于早年原因,学艺条件远不如徐悲鸿。从他题画的文字亦可看出。蒋兆和曾写过一些带有民间艺人与情怀的诗,如“且喜抱孙度晚年”、“二月二日龙头昂”、“灿烂光辉满门墙”、“儿孙满堂心操碎,越是老年越痴心”等。

  尽管蒋兆和具有天赋,在绘画路上努力探索,但早年的缺憾始终无法完全补阙。“《流民图》是他一生中最佳的作品,之后,他的作品水平便下降了。”陈传席指出,和大部分写实主义人物画家一样,蒋兆和晚年的作品赶不上早年,他的画中表现出来的主要是技术性,而文化修养不足。而刘墨亦认为,上世纪50年代的蒋兆和,尽管晚年在认识上有了明确提高,但是艺术水平却比早年有明显下降,画得并不好,造型不说,即使是笔墨,也实在没有精彩之处。

  落实到作品当中,怎么来理解?刘墨指出,蒋兆和的笔墨严格地被束缚在造型的较为单一的功能上而不能自由,其线条也因为书法功力的欠缺而显得刻板、拘谨,一些画更由于环境原因而显得有宣传画的味道,人物姿态不但不生动,而且造作,陷入了概念化、类型化之中。刘墨还以《太白沉思图》为例分析其作品线条与墨色的漏洞。画中作者用线之简括有如齐白石,却少了白石老人的力度;李白倚着的那块石头,墨色虚浮;右下角的那些菊花从花鸟画的眼光来看,也很初级。中国画本身固有的空灵、自然、虚渺等美学品格,在他那里并不易见到,而他似乎也从来没有认真地在这方面下过功夫。

  蒋兆和到了后期,渐渐走向用毛笔擦出素描感的效果,不仅人物形象不如以前生动,笔墨效果更不如以前生动。陈传席还以1981年所作的两幅《杜甫像》与1959年画的《杜甫像》来对比,以此来认证自己的观点。

English Introduction

Jiang Zhaohe (1904 - 1986) is called the twentieth Century master of China of modern ink painting, modern painting Chinese leading art masters. On behalf of Jiang Zhaohe has the "homeless people", with its grand and solemn hitherto unknown, with powerful strokes to reveal the master really good humanity, dumping of the wrath of war, expression of justice and peace calls for the establishment of a glorious position of modern China ink painting art in the world.
Jiang Zhaohe is one of the great reform thought of artists since 54 "movement, Chinese famous modern painter and art educator, Professor of China Central Academy of Fine Arts, is an important figure in Xu Beihong's painting realism. Under the influence of Mr. Xu Beihong, he set Chinese traditional ink painting skills and other Western means in one framework of new painting techniques in the "realism" and "freehand", which greatly enriched the China ink painting performance, so that the China converted by traces of ink painting literati aesthetic taste for the performance of life and human nature, the expression of humanistic care, vector calling of benevolence.
Jiang Zhaohe in the field of ink figure painting to maximize the unique charm of Chinese painting, so that China's modern ink painting jump and stand in the ranks of world realist painting.
Jiang Zhaohe, a native of Hubei Macheng, born in Sichuan of Luzhou; formerly Wansui, born in 1904, childhood poverty. 1920 to Shanghai, has been engaged in the clothing design, advertising painting, painting and self-study.
1927 was hired in Nanjing national Centre College (Centre College in 1949 changed its name to Nanjing University), for the Department of design faculty. 1930 - 1932 Shanghai Art College sketch Professor, and participated in the provisional youth patriotic propaganda team painted Anti Japanese propaganda.
In 1935 next year to Beijing, back to Sichuan officially began the modern ink painting. One thousand nine hundred and thirty-seven
Spring back to Peiping, Ren JINGWAH professor of Academy of Fine Arts, Peking College of art teachers, and exhibitions. In 1947, employed in the national Beiping art school.
After the establishment of People's Republic of China in 1950, he was appointed a professor at China Central Academy of Fine Arts, was elected China Artists Association Second, 3 director, fourth consultant, Chinese Culture Committee, Council member of China Painting Research Institute, third, 4, 5, 6 CPPCC National Committee, member of the NLD Central Committee of culture and education.
At the beginning of reform and opening up, Jiang Zhaohe stood in the newly completed Capital International Airport Lounge painting painting naked girl before repeatedly called good". Jiang Zhaohe always looks at Chinese art, western art and future art with the mind of a Bo University. He taught in fifty years, established a set of training talents of modern ink painting teaching system for decades, is peaches and plums fragrance, more artists on the "art for life" the creation of the road; many of his works are still people admire extremely difficult to go beyond the realism ink the highest point of figure painting.
Journalist published "Jiang Zhaohe" album, "Jiang Zhaohe album", "Jiang Zhaohe" has published selected paintings; "painting sketch teaching", "on the Chinese painting sketch teaching" and other papers.

Jiang Zhaohe's art can be divided into two periods:
Early stage
Sketch based, from the sketch of the western painting sketch and China painting Baimiao together, and the line to form the style of painting and traditional Chinese painting creation way. The representative works is revealed by the suffering of China was the bottom of the tragic fate of the "homeless people".
Advanced
He learned China traditional ink painting skills and traditional painting heavy verve, heavy ink taste advantages, the new architecture in the realistic and freehand brushwork, the Chinese ink figure converted by the trace of literati aesthetic expression of life and human nature, expression of humanistic care, call benevolence.
"Du Fu like"
"Du Fu" painting in 1959, this period is the peak of the artistic creation of Jiang Zhaohe, he grasps the light and shadow and the ability to shape structure, reached a new height. On the screen, he used chiaroscuro sketches with traditional figure painting structure line drawing techniques, loneliness and good performance "Saint". A tendency to change the concept of traditional painting characters, describes Du Fu's personality characteristics, emphasizing their mental picture, but not limited to the literati painting programs and norms, with bold, extensive and free. Through the focus on the poet's facial expression, people spontaneously experience the "poet" concerned but depressed helpless mood, the whole picture is full of grief and desolate color.
"Homeless people"
"Homeless people" is a birth in the period of Anti Japanese war in the occupied areas of the anti war epic.
A "homeless people", Xu Beihong in "forty years" in Beijing on painting is so mentioned, "in the fall before, Jiang Zhaohe has to draw new Chinese in Zibo fame during the fall, Chiang wrote a" homeless people "out of Chen ancestral temple, at the end of a day, which is affected by Japanese interference, Jiang the articles draw towards Shanghai, which now unaccounted for".
This picture was later found, although broken more precious. Later, Mr. Xiao Qiong donated it to the Chinese Art Museum and became a collection of national treasures.
The whole works through the shape of the more than 100 homeless escape Japanese bombing, dying painful situation, showing by the invaders by starving everywhere, the suffering of human tragedy. The picture did not appear directly burning and looting of the aggressor, but through a sad, lying on the ground, terribly fatigued and the rate of characters, to the Chinese nation which reveals the country of destruction.
"Homeless people" is the epic art form, revealing the suffering of the war, plays an important role in Chinese art history and art history of the world.

Jiang Zhaohe and Xu Beihong, and the Chinese painting reform in twentieth Century, the three. In the transformation of Chinese traditional figure painting, Jiang Zhaohe combined with his own growth experience, in the painting performance of the lower character of the hard, form "full paper poor phase". As Liu Mo said, from the beginning of Jiang Zhaohe, Chinese art can directly face the painful and bleak life. By Xu Beihong's advice, Jiang Zhaohe from western Chinese useful factors to the development of modern ink painting, to continue the reform and development of Xu Beihong's painting China road.
Jiang Zhaohe (1904-1986), Sichuan, Luzhou, Professor of China Central Academy of Fine Arts. Has been removed Shanghai, Nanjing, Beijing and other places to paint advertising, portraits, costume design, art education and other livelihood, and self sketch, oil paintings, sculpture, patterns.
Jiang Zhaohe uses ink paper color painting, "painting" principle, to enrich the line (i.e. writing) to establish the image of the backbone, and absorb the techniques in landscape painting, with cunca ink and method to enrich the characters of the structure, not only embodies the form of China painting, but also into the western drawing performance the size and structure of the long. He took the Chinese painting as the foundation, absorbed the scientific composition of Western art, smelt Chinese and Western art in one furnace, and made the creative techniques of Chinese painting characters develop creatively.
Works for "full paper poor phase" and painting
Jiang Zhaohe in the transformation of Chinese traditional figure painting, is a painter can not be ignored. Jiang Zhaohe was born in 1904 in Sichuan Luzhou's impoverished family of a family of scholar, at an early age to learn painting and calligraphy, at the age of 10 for a portrait. At the age of 16, Jiang Zhaohe was removed in Shanghai, Nanjing, Peking, Sichuan and other places, for people engaged in portraits, commercial art, art education, self-study and sketch, oil painting, sculpture, design, but suffer no guidance.
After meeting Xu Beihong, he told Jiang Zhaohe to study in France for a lot of things bother, not only arrange Jiang Zhaohe to follow Ms. Jiang Biwei to learn French, also apply for 500 yuan of foreign government. Even so, Jiang Zhaohe still did not go, so sorry for Chen Chuanxi, first, he is too poor, two is not high culture, the three is a foreign language barrier, resulting in difficulties to study abroad.
But this has not become a stumbling block to Jiang Zhaohe's paintings. It is also because of this hard, inspired his firm belief in painting, the day after the initiative to explore oil painting, sketch, etc.. In this regard, Chen Chuanxi said, compared with many formal art education, by the teacher pointing students, this is the talent and hard work in the role of Jiang Zhaohe. He also revealed that Jiang Zhaohe has not even entered the university gate, 24 years old, but was hired to teach Centre College design, because his design works in Shanghai art exhibition is very good. Hard up Miss que his early apprenticeship time.
In the theme and style, due to the circumstances of childhood, his paintings naturally sympathize with the toiling masses. This is reflected in his book, "I know all the world of painting the poor, only I sympathize with, but the road of starvation...... But how do we feel about comrades who are artistic for art? Ask for what? "Therefore, his works are mostly" full paper poor phase "painting. Liu Mo believes that from the beginning of Jiang Zhaohe, Chinese art can not only show the inherent transcendent, elegant, but also can directly face the painful and bleak life.
And recognized by the art world, Jiang Zhaohe is "full of poor" representative 1941-1943 the creation of "homeless people". This picture is 2 meters high, 26 meters long, it has a total of more than and 100 people. Jiang Zhaohe Beijing, Shanghai, Nanjing area of the Japanese occupied area, drew a large number of sketches, breaking his own past as a single portrait painting, is China history since the Dunhuang Yongle Palace murals murals, most large figure painting. Liu Xilin believes that the "homeless people" is a macro structure, the whole seems like a composition, it is used a lot can be combined independent portraits, portraits, showing a scene of the tragedy of history. He further said that the works did not directly to the tragic conflict to the screen, but through the richness of the inner world to reveal the tragic fate, with a deep tragic atmosphere. Liu Mo points out that it is a landmark work.
Xu Beihong is a pioneer, Jiang Zhaohe is a developer

In the Xu Jiang system, especially in the figure painting, Chen Chuanxi pointed out that, is a pioneer in the development of the developer, who is a pioneer in the development of the system. Specific how to understand? Chen Chuanxi further pointed out that Xu Beihong outlines the contours with a rigorous line, followed by the human body concave and convex, light and shade, as well as the organizational structure, are drawing with ink. However, Xu Beihong sketch has been very delicate, with ink painting sketch, but also very careful, so rigorous and precise, lively and chic. But Xu Beihong opened up a new road - based on the sketch, reform and development of Chinese painting, and Jiang Zhaohe will develop on this road. Chen Chuanxi then summed up, "and Xu Beihong sketch Chinese painting figures, compared to the character painting of the less rigorous, and vivid over the."
Old age pen, there is no wonderful place"
Xu Beihong Sinology foundation is very thick, exports into poetry, proficient in calligraphy, studying abroad. Jiang Zhaohe early due to reasons, conditions apprenticeship is far better than Xu Beihong. The text can also see from his paintings. Jiang Zhaohe wrote some folk artists and feelings of the poems, such as "grandchildren and his old age", "February 2nd leader Aung" and "shining with wall" and "children heart up, the elderly is more foolish".
Although Jiang Zhaohe has talent in painting on the road to explore, but early defects cannot be completely compartmentallized.the. "" homeless people "is the best works in his life, after his work fell." Chen Chuanxi pointed out that, as with most realistic figure painters, Jiang Zhaohe's works not in his early years, his painting performance is mainly technical, and lack of culture. Liu Moyi believes that in 50s Jiang Zhaohe, although later in the understanding of a clear improvement, but the artistic level is early has decreased significantly, painting is not good, other do not say, even if the ink does not really wonderful.
Into the works, how to understand? Liu Mo pointed out that Jiang Zhaohe's painting is strictly bound in a single function form and not free, but also because of the lack of the line of calligraphy skill becomes rigid, formal, some painting for environmental reasons and appears to have posters of taste, character attitude not only vivid, and pretentious, into a conceptualization, type. Liu Mo also thought to "Taibai map" to analyze the works of lines and black holes. The author used in line with Qi Baishi, but less Bai Shi's strength; the stone, Li Bai leaned on the ink superficial; the lower right corner of the chrysanthemum flower and bird painting from the point of view, it is also the primary. China draw the inherent emptiness, nature, real aesthetic character, is not easy to see in him, and he seemed to have never been serious in this area over the next effort.
Jiang Zhaohe to the late, gradually brush the brush with a sense of the effect of the sketch, not only the characters as vivid as before, ink effect is not as vivid as before. Chen Chuanxi also made in 1981 two "and 1959" Du Fu like "Du Fu" to the New Year paintings as compared to their own point of view, authentication.

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