摘要
全面抗战爆发后,中国艺术逐渐踏上民族化、大众化的道路,但很多艺术家以功利化的创作方式,一味地呐喊、讽刺,使作品沦为一种刻板的程式。一些艺术家则以写意精神塑造革命美术,以画中可见之“象”,表达画外之“意”,开创一条“立象以尽意”的道路。写意精神与革命精神并不冲突,通过“立象以尽意”“意到笔不到”的方式,二者能紧密结合。
After the outbreak of the War of Resistance Against Japanese Aggression,Chinese art gradually embarked on the road of nationalization and popularization.However,many artists blindly fell prey to utilitarianism,which reduced their works to the level of stereotyped forms.Some artists shaped revolutionary art with the spirit of freehand brushwork by expressing the"meaning"outside the painting with the"image"visible in the painting,and creating a way of"establishing the image to beget the meaning"(li xiang yi jin yi立象以尽意).The spirit of freehand brushwork and the spirit of revolution are not in conflict,and the two can be closely combined through the concepts of"establishing the image to beget the meaning"and"the brush dwells in artistic conception".
出处
《艺术探索》
CSSCI
2022年第1期67-74,共8页
Arts Exploration
关键词
主题性美术创作
写意
虚实
丰子恺
Thematic art creation
Freehand brushwork
Fiction and reality
Feng Zikai
