本文選題：侵華日軍　切入點(diǎn)：生存境遇　出處：《藝術(shù)工作》2017年04期

【摘要】：正《1946》是一部揭示人類生存境遇及未來命運(yùn)的一部作品。它講述了二戰(zhàn)后中國政府遣返侵華日軍及日本僑民的一段歷史。畫面上有數(shù)以百計(jì)的人物。王希奇先生革命性地改變了傳統(tǒng)的油畫的透視原理,創(chuàng)造性的使用了多點(diǎn)透視與散點(diǎn)聚焦的技法,這使觀者忽而感覺駐足于行進(jìn)的人群之中;忽而以為自己行進(jìn)在瞬間凝固的歷史之中。這種由
[Abstract]:< 1946 > is a work that reveals the living conditions and future destiny of mankind.It tells a history of the repatriation of Japanese invaders and Japanese nationals by the Chinese government after World War II.There are hundreds of characters on the screen.Mr. Wang Xizi revolutionized the perspective principle of traditional oil painting, and creatively used the techniques of multi-point perspective and scattered focus, which made the viewer suddenly feel standing in the marching crowd;And suddenly thought he was moving in a moment of solidification in the history.This reason
【分類號(hào)】：J205

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1 張麗娜　記者 趙宏光;依蘭征回侵華日軍拍攝相冊(cè)[N];哈爾濱日?qǐng)?bào);2010年

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本文編號(hào)：1721644