本文關(guān)鍵詞： 天津近代文化 中國(guó)畫(huà) 精研古法 中西合璧　出處：《南開(kāi)大學(xué)》2013年博士論文　論文類(lèi)型：學(xué)位論文

【摘要】：與天津在中國(guó)近代史上的獨(dú)特地位相關(guān),近代天津獨(dú)特的文化風(fēng)氣也孕育了一批以“精研古法、博采新知”作為自己藝術(shù)追求的國(guó)畫(huà)名家。在當(dāng)今畫(huà)壇,他們的影響力正與日俱增,但是對(duì)其深入系統(tǒng)的研究卻一直處于相對(duì)沉寂的狀態(tài)。本文擬對(duì)這些畫(huà)家群體與眾不同的藝術(shù)探索和風(fēng)格特點(diǎn)進(jìn)行細(xì)致解讀,以彰顯其獨(dú)特的價(jià)值和意義,以期有裨于中國(guó)畫(huà)未來(lái)發(fā)展道路的思考。 天津居運(yùn)河之會(huì),.攜漕鹽之利,自古即受南北多元文化之沾溉。1860年開(kāi)辟通商口岸以來(lái),西方文化洶涌而至,遂造成近代天津中西合璧、古今交融的獨(dú)特文化氛圍。在此氛圍之中,天津近代繪畫(huà)不僅恢復(fù)了寫(xiě)生傳統(tǒng),而且形成了兩種不同的發(fā)展道路。其一是繼承中國(guó)繪畫(huà)傳統(tǒng)功力,重視師法造化,同時(shí)吸收西方繪畫(huà)的寫(xiě)實(shí)主義、視覺(jué)經(jīng)驗(yàn)以及對(duì)自身所處人文環(huán)境的關(guān)注,在順應(yīng)藝術(shù)潮流的發(fā)展過(guò)程中開(kāi)拓了中國(guó)畫(huà)新的表現(xiàn)方式。其二是以繼承中國(guó)傳統(tǒng)繪畫(huà)精髓為宗旨,通過(guò)對(duì)傳統(tǒng)繪畫(huà)進(jìn)行深入研究和獨(dú)到解讀,力圖突破前人而自成面目,最終找到與自身特點(diǎn)相結(jié)合的繪畫(huà)方式。其中,張兆祥、劉奎齡、劉子久、陳少梅等人便是篳路藍(lán)縷并卓然成家的先行者,他們代表了一個(gè)時(shí)代天津畫(huà)家的夢(mèng)想和審美追求。 長(zhǎng)久以來(lái),天津近代畫(huà)家群體的繪畫(huà)作品并沒(méi)有受到應(yīng)有的重視和被世人所熟知,但他們的繪畫(huà)作品終將證明,寂靜之道中藝術(shù)家凝神靜氣的精神內(nèi)涵。著名畫(huà)家潘天壽先生曾說(shuō)過(guò)：“大自然中到處充滿(mǎn)詩(shī)意畫(huà)意,不過(guò)是有待慧眼慧心人隨意拾取罷了�！痹诋�(dāng)今畫(huà)壇我們需要?jiǎng)?chuàng)造者,更需要發(fā)現(xiàn)者的慧眼,天津近代畫(huà)家群體代表著津門(mén)繪畫(huà)從青澀走向成熟的中流砥柱,他們的藝術(shù)終將恒久的展現(xiàn)于中國(guó)美術(shù)史。
[Abstract]:Associated with the special status of Tianjin in China in modern history, modern Tianjin's unique cultural atmosphere also gave birth to a number of "fine ancient research method, collecting new knowledge" as their own artistic pursuit of famous paintings. In the contemporary art world, their influence is the thorough system grow with each passing day, but the research has been in a relatively quiet state. This paper intends to explore the art style and features of these artists are out of the ordinary detailed interpretation, to show its unique value and significance, in order to guide the thinking of the future development path China painting.
In the Tianjin canal, carrying salt Lee. Cao, since that is by the strong multicultural.1860 open trading port, western culture was raging, resulting in modern Tianjin Chinese and Western, unique cultural atmosphere. This blend of ancient and modern atmosphere, Tianjin modern painting not only restored the traditional painting, and formed two a different path of development. One is the inheritance China traditional painting skill, pay attention to the nature, while absorbing western painting realism, visual experience and focus on the human environment for itself, in response to the wave of art flow in the process of the development of open style China painting new. The second is to inherit the essence of traditional painting Chinese the purpose, through in-depth research and unique interpretation of traditional painting, trying to break the previous its appearance, finally found combined with their own characteristics of the painting style. Among them, Zhang Zhao Cheung, Liu Kuiling, Liu Zijiu, Chen Shaomei et al is arduous and the forerunner of Zoran Chengjia, they represent an era of Tianjin painter dreams and aesthetic pursuit.
For a long time, Tianjin modern artists painting has not received due attention and known to the world, but their paintings will eventually prove that silence in artist brings peace spirit connotation. The famous painter Mr. Pan Tianshou once said: "nature is full of poetic flavor, but is to be wise people pick up eye nothing." in the contemporary art world we need a creator, and need to find out an eye, Tianjin artists in modern times represents Tianjin painting from the mainstay mature, their art will forever Chinese show in the history of art.

【學(xué)位授予單位】：南開(kāi)大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J209.2

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本文編號(hào)：1549811