The time of publication:2008.05Press:Hebei Education Publishing HouseAuthor:American calyxPages:291BookTitle:In twentieth Century China figure painting
Compared with the landscape painting, flower and bird painting, figure painting has been the weak link in the ancient history of painting in the Chinese. Over the past hundred years, as a continuation of Xu Beihong on the sketch based advocacy, Yanan revolutionary realism tradition and introducing Soviet socialist realist painting, figure painting gradually become the mainstream of modern China painting. The artist, the work many, almost more than any time in history. Figure painting because of strong ideology, not easy toGrip; the complex human nature, not easy to penetrate; style variety, not easy classification; choroid complex, not easy to comb, and become a modern China art history research is relatively weak. The young artists born calyx, with her energetic theory courage to advance despite difficulties, in her master's thesis "Xu Beihong realistic education system" and "understanding", "Xu Beihong painting works of Li Kuchan", "frozen music -- Chinese ancient sculpture", "the Renaissance masters", "Kandinsky", "on the Art Abstract Expressionism", on the basis of the fruitful, "Twentieth Century China figure painting" declared "national art science 'fifteen project, Ministry of culture, youth and special project". This book, is the final results of this task. This book has the following characteristics: one is the clear positioning. American calyx do not attempt to once write a including complete Chinese figure painting history in twentieth Century, but locked in the 5000 year history of civilization in China, a hundred years; cut in oil, edition, years, even in the painting, Xuan only "country" word, space-time coordinate such, easy to concentrate on a breakthrough party. In tracing the development Chinese painting figure painting, put the view open, connotation to perspective drawing style from the broad background, and changing social reality. The child is father of the man and the grand view small together, is conducive to the project of deep, do fine, fine. She is around 100 years Chinese portrait of this position, collecting, sorting a large number of historical documents, and the use of his work in the theory part Chinese Art Museum, has interviewed many portrait painters, mining many fresh first hand information, sorting out the "Twentieth Century China figure painting memorabilia", "Twentieth Century figures the painter list" and other chronologies and catalogue, the China portrait image gallery hundred years the study tour, built on the solid historical foundation. Two is clear. ((Twentieth Century China figure painting "not simply stack or list of paintings, but fasten" born with the WTO "line," and the world "(1900 ~ 1929)," the national portrait "(1930 ~ 1948)," to the workers and peasants "(1949 ~ 1965), a flood of Cultural Revolution '" (1966 ~ 1976), "pluralism" (1977 ~ 2000) five units, studied the relationship figure painter and mainstream ideology; painted portrait painters and painting realistic figures, historical figures, literary figures, dramatic characters and legends of people.
"In twentieth Century China figure painting" for the sector in twentieth Century, to China mainland Chinese figure painting as the starting point of view, China painting evolution process from the traditional to the modern transformation of. In the historical basis of complex, development China portrait out in twentieth Century, the close relationship between the study in twentieth Century, China figure painting and social reality, analyse the changes of language style, pen and ink techniques, the inherent law of the root causes and explore the influence of the development of figure painting and figure painting development. At the beginning of twentieth Century, once gentleman posture, transcendental and free from vulgarity Chinese figure painting began a continuous WTO, regression dust of history. She first from the "world" to "human", earthly fireworks gradually filled in figure painting, ordinary life began to appear in the picture above, once abandoned human kindness become artists interest; 30 years later, with the development of the national liberation movement, a figure painter further folk, grassroots the pain that they brush heavy and powerful; 50 years later, character artists began to peasants and soldiers, this is the only object they can show their efforts to close to the workers and peasants, and is expected to become one of them, by the late 70's, Chinese portrait and figure painter complete the "Avatar" course. 80 years later, China figure painting gradually out of "worker peasant soldier" performance range, explore the world, human life in the vast world, and find the human "self" and the art of "self", in the double regression and painting, Chinese figure paintings showing a diversified pattern of unprecedented colorful.
American calyx, was born in 1971 in Jiangsu binhai. In 1991 graduated from the Nanjing Arts Institute Department of Arts and crafts, in 1995 admitted to the Chinese Art Research Academy of Fine Arts Department, under the famous art theorist Mr. Zhai Mo, was a master's degree in 1998 and left China Art Research Institute of Fine Arts in Modern Art Research Office, in 1999 transferred to the China art museum. The China Gallery two academic department deputy director, associate research librarian. In 2001, bear the "national art science 'fifteen' project" "Twentieth Century China figure painting" research work. Xu Beihong issued a "realistic education system recognition," "Xu Beihong art education thought formation and the influence of the publication", "Xu Beihong", "Li Kuchan" painting works.
Introduction the first chapter and section out of the woods and a world of mortals, modern figure painting pioneer -- Chen Shiceng two, Wang Zhen three, Qi Baishi custom character sketch China's figure painting four, walking in the "sidewalk" on the Feng Zikai second classic Yu Yunyi, Shanghai lady painter Qian Hui two, was sent an important descendant -- Ni Tian, three "the four" one Feng detached four, embraced the figure painter Yu Ming five North and south, and attack the portrait of Chen Banding summary chapter second National Portrait section absorbed in the folk realistic figure drawing a realistic figure painting, Xu Beihong -- the pioneer two, suffering and hardship of the expression, "-- Jiang Zhaohe three civilian painter" Zhao Wangyun and the sketch artist Shen Yiqian four, south of the Five Ridges painting figure painting from five, miserable reality Irony -- Lv Fengzi six, and Chinese ink painting realistic painting second continuation of traditional figure painting, figure painting, a Beijing official Xu Yansun, Tianjin -- two -- three all portraits of Chen Shaomei, "the south Zhang 北溥" figure painting four, Fu Baoshi five, Gu Mei figure painting freehand brushwork figure painting of Li Keran six, Guangdong traditional man Fabric painting masters seven, Fujian traditional portrait painter Li Geng Lin Fengmian in the third quarter and Seki Yoshihito, away from the hubbub of the Lin Fengmian two, the play -- Guan Liang's Opera figure painting of the third chapter to the workers' and peasants' first day Chinese portrait development environment second day face transformation Chinese figure painting, a thought transformation, the transformation of three two the theme of transformation, third deep into the life of ink painting, Xu Beihong school, Ye Qianyu and Huang Zhou two three, Shi Lu four, new Zhe school painting, figure painting and Shaanxi five Liu Wenxi six, Wang Shenglie and northeast figure painting fourth section reflect the reality of the new painting fifth traditional figure painters of the project, was given the practical significance of historical figure painting, figure painter of two traditional realistic works three, other means of wandering -- and attack and defense figure painting landscapes and flowers and birds painting, four new China construction diagram of the fourth chapter "the Cultural Revolution" first day of revolutionary thought reform -- painting revolution revolutionary people do painting the second section revolutionary themes, the socialist revolution and construction of a revolution in the model of the two, three, the leader of the revolution of revolutionary emotional expression in section third Revolutionary female image, valiant and heroic in bearing iron girl of two, in the vast world of female educated youth do three, turn over do as the owner of fourth rural women's amateur art creative team and collective creation form of co-existence of fifth chapter first section from thriving to a situation of tripartite confrontation second realistic wash figure painting the development of a new one's real feelings, into two, critical edge appeared three, personal style, highlight the four epic and lofty sense of enhanced five, ink interests pursuit six, Qiyun and Fengshen highlight third quarter of Chinese ink painting, Zhou Sicong's "rise" 矿工图 two, performance the revolutionary historical figure painting, performance of three local painting four, performance of urban ink painting, ink and color painting five performance six, performance of ink portrait fourth freehand brushwork figure painting flourished, free release two, image modeling principle stress three on human, re examining the fifth day fine brushwork figure painting of a China revitalization, contemporary painting society two, bright stars of the fine brushwork figure painting pictures to enjoy a summary conclusion appendix: figure painting Appendix two: interview in twentieth Century China figure painting memorabilia appendix three: in twentieth Century an important figure painter list in Appendix four: the main reference postscript
The third section deep into the lives of realistic painting in twentieth Century 50, rise Chinese figure painting through a series of transformation and the occurrence of t great changes its most prominent achievement is reflected in the performance of the worker peasant soldier realistic wash figure painting. A formal system of sketch training, improve the China figure painter realistic level; deep and long traditional ink and wash, strengthen the Chinese figure painter painting feeling; deep into life, show gongnongbing requirements of the times, cultivating Chinese figure painter processing real theme of capacity, the rise of these three factors prompted the realistic wash figure painting. In 1953 and 1955, the two session of the national Chinese painting exhibition, the first confirmed the transfer Chinese painting coming, but also indicates that the rise of realistic wash figure painting. In the two exhibition, the emergence of a number of excellent realistic wash figure paintings, such as Huang Zhou's "father" to play the "Chiang, Guan Shanyue new development road", Shi Lu's "the the Great Wall", Ye Qianyu's "Labrang dance", Jiang Zhaohe's "the study result tell volunteers uncle" etc.. In 1954 March, in a traditional Chinese painting exhibition in Wuhan City, Tang "on", the law school Chen Shaofeng ((the old man you dropped something not "," Snow ", Guan Shanyue's play Li Xiongcai" sell surplus grain to the state "and other ink figure painting by the masses. After 50 time metaphase, although the figure painting in the painting field is still a weak link, however, realistic painting began to have good performance. Held in 1956 second national Chinese painting exhibition, a number of outstanding realistic wash figure paintings give you left a deep impression, such as Huang Zhou "polo", Li Hu's "India woman", the "Tang said what I want into the club," Fang Zengxian "," every grain of hard work Lu Yanshao's "mother" to teach literacy, Zhou Changgu "on the way home," Jiang Zhaohe "," Huang Zixi "the newspaper into the club," Du Zhonghuai "to" market etc.. Memorial in 1957 August China people's Liberation Army thirty anniversary art exhibition, Chinese figure painting works occupy a large proportion, excellent works of Wang Shenglie's "eight female cast Jiang", Wu Jingbo's "the storm of revolution", Beijing China painter cooperation "Red Army long syndrome", by the "应野平 mountains bow the river way,", the process 十髪 ((happy water splashing Festival "," Chen of Dongting Lake Guangzhou liberation "etc.. 1958 December held in Moscow "Socialist National Art Exhibition", Jiangsu Art Academy of Chinese collective creation "to fight", Li Qi's "iron and steel Chairman Mao in Ming Dynasty Tombs site," Li Shuoqing "," Wei Zixi "mountains and valley filling and no resistance", Yang Zhi "stopping by woods on a snowy evening light meal" and other paintings in 50, represents the highest level Chinese realistic wash figure painting. Can say, the twentieth Century 50's representative China painting image in international art is the realistic wash figure painting. In fifth (1955), sixth (1957) and the seventh session of the World Youth Festival International Exhibition (1959), won the gold prize of the three paintings are realistic wash figure paintings, they are Zhou Changgu ((two lamb ", Huang Zhou's" the storm "and Yang Zhiguang's" stopping by Woods on a snowy evening meal ", which not only to China art brought honor, but also greatly encouraged by the realistic wash figure painter confidence.
"In twentieth Century China figure painting" came to fill the academic blank. "The development of figure painting in twentieth Century Chinese China figure painting" from the longitudinal combs the twentieth Century twentieth Century period, the most attract sb.'s attention Chinese painting, painting the first figure painting. This once dominated the painting in the Han and Tang Dynasties, and the Yuan Dynasty painting is gradually decline, in twentieth Century also replay splendor. But now there is not a book about the twentieth Century China figure paintingThe monograph, analyses the important figure painter and representative works; analyze the fluctuations of the ups and downs of several schools, the basic development process of Chinese clarifies the twentieth Century figure painting. Accurate historical data, review of appropriate, has the rich historical value, the higher academic value and practical value, and provides important reference for Chinese figure painting in the new century. "Song Yafeng art theory" is the Hebei Education Publishing House in Beijing, National Art Center, set many years of publishing experience carefully for the readers to create a set of art theory series. "Song Yafeng art theory" to study in art, art lovers in academic research results at home and abroad the latest, to promote the study of art theory to the academic, specialization, internationalization, boutique in the direction of the development of. The content includes the domestic and foreign well-known experts, scholars, art institutions of outstanding master's thesis. Attention to academic accumulation dynamic, research new art history circles.
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