刘梅琴. 张大千绘画——传统与现代的交会[J]. 内江师范学院学报, 2013, (3): 25-29.
    引用本文: 刘梅琴. 张大千绘画——传统与现代的交会[J]. 内江师范学院学报, 2013, (3): 25-29.
    LIU Mei qin. On ZHANGDa qiang’s Painting as Juncture of Tradition and Modernity[J]. Journal of Neijiang Normal University, 2013, (3): 25-29.
    Citation: LIU Mei qin. On ZHANGDa qiang’s Painting as Juncture of Tradition and Modernity[J]. Journal of Neijiang Normal University, 2013, (3): 25-29.

    张大千绘画——传统与现代的交会

    On ZHANGDa qiang’s Painting as Juncture of Tradition and Modernity

    • 摘要: 张大千(1899~1983年)生于动荡的现代中国,恰逢中国数千年来前所未见的美术革命。在这风起云涌的时代,大千却未曾参与现代美术革命。他不但传承了传统文人笔墨形式,而且获得“五百年来一大千”、“岂有第二人哉”之盛誉。1949年因时局变迁旅居海外,与毕加索进行了“东西艺术大师高峰会”,之后以传统笔墨为本质的文化艺术精神为主,放笔墨而为泼彩,创造出符合现代抽象视觉审美经验的新的笔墨形式,而为西方学者誉为现代“中国绘画中非凡的巨人”。

       

      Abstract: ZHANG Da qian was born in turbulent modern China in which fine arts witnessed its revolution which had not taken place for a thousand years. In such a period of turmoil, ZHANG was not involved in the revolution. However, he not only inherited the traditional artistic styles, but got the fame of “first man for five handred years”. In 1949, due to changes of situaiton, he migrated overseas and met Picasso, which was called the summit meeting of art masters from East and West. Later, with the traditional art as the main style of cultural spirit and change of it into ink splash, he had created the new painting style in accordance with the modern abstract visual aesthetic experience. Hence, he has been called “a painting giant in modern China” by Western scholars.

       

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