【作者】 谢军；

【导师】 徐义生；

【作者基本信息】 陕西师范大学 ， 美术学， 2005， 硕士

【摘要】 李可染的山水画被称为二十世纪中国山水画的里程碑,其山水画风格被誉为“李家山水”。他在现代中国山水画发展史上有着重要的地位。一生都在实践着自己的座右铭:“用最大的功力打进去,用最大的勇气打出来”,致力于中国山水画的改造,他的山水画以全新的视觉图式和具有时代精神风貌而受到瞩目。他的山水画,不但有对传统继承,而且也有对西方绘画因素的吸收和改造。无论是从艺术自身的发展来讲,还是从对外来绘画的吸收来说,李可染在改造中国山水画方面无疑是成功的。从《李可染论艺术》和其作品中不难找出他的艺术观,与潘天寿一样,他们对传统的继承虽采取不同的道路,但他们的艺术实践证明有长达千年之久的传统具有发展的可能性,如笔墨。而在今天,这种可能性增强了我们对民族传统艺术的自信。由于李可染所处的社会背景的原因,对“四王”以至对所有的传统一棍子打死,因为传统不能表现新的生活,画上新事物就是新国画虽具有片面性,但在技法探索上或多或少有作用。李可染师传统是全面的,从范宽、李唐到石涛、龚贤等,一直到齐白石和黄宾虹。继承传统同时注重画面空间层次的拓展,在西方绘画的影响下,李可染在对传统准确把握之上吸收西方绘画如光这个因素,并让光这一因素成为画面的画眼,尤其是逆光的表现。把黑和白表现达到了极至,在不失中国画神韵基础之上,最大限度的改造中国画,这是李可染的创造。李可染山水画风形成原因是多方面的,但是写生在其山水画中占重要的地位,写生可以说是李可染成功的基石,他在山水画坛地位的确立和写生有着密切的关系,并留下了许多写生精品;可以说没有写生,就没有对传统的再认识,就没有对西方绘画因素的大胆移植,就没有其山水画风的形成。在“意境”这一课题方面,围绕田园诗意为核心展开,和传统“意境”审美追求具有一定相似性。虽然李可染只是个案研究,但仍具有普遍意义。他证明了: 1.传统山水画具有广博的容纳性。 2.中国山水画笔墨发展的可能性。 3.中国山水画重要命题“意境”具有永恒性。 4.中国山水画写生方法的多样性。 研究他的山水画,在当今中西文化交汇的今天,在中国画发展多元化的今天,有着参考价值。更多还原

【Abstract】 Keran Lee’s China mountains-and-waters painting arts is known as the mile stone of Chinese mountains-and-waters painting in the 20th century. Moreover, the style of his has been named by "Li jia shan shui ". He holds a significant position in the mountains-and-waters painting history of contemporary in china. All through his life he put his motto into practice, that is, to fight in with the most effort and to fight out with the greatest courage, devoting himself into the transform of Chinese mountains-and-waters painting. His paintings have been fixed eyes upon with brand new visual design and the features of the today’s spirit. Analyzing his paintings, we’ll find that he not only carries forward the tradition, but also absorb some factors of the western painting arts in the way of improving. He is undoubtedly successful in not only developing art itself but in absorbing foreign paintings. It’s not difficult to find his skills of understanding of art, which is the same as Hanshou Pan. Though they take the different way in inheriting traditional art, their practice of art proves that the tradition, such as the problem of written polemics, has the possibility of developing in different periods, which can give as the confidence to our nations traditional art today. He is in such a society that people deny "the four king", even all the traditions just for they cant take on the new life. Some people hold extreme views that to draw new tings new Chinese painting. However, it has more or less meaning in exploring skills and techniques of art. Keran Lee is all-sidedly in learning traditional art from Fan kuan, Li tang, Gongxian ,Shi tao to Baishi Qi and Binghong Huang .He pays attention to earring forward the old art as well as the expanding the space of tablean gradation. In the influence of western art, Kranli Lee takes in the factor of light on the base of inheriting traditions properly and makes it the poine of all paintings, especially the expression of the enlightened backlighting. It’s Keran Lee’s creation to transform the Chinese paintings in the maximum limit without losing its romantic charm but expressing the colour of black and white in the extreme height. Forming of this style results from many causes, but we can’t neglect his attaching importance to sketching from life, which an be said the base of his cuccess. The establishing of his position to the mountains-and waters art circle is closely related to sketching and he leaves us many art treasures. It更多还原