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油画作为19世纪后期引进的新画种,从人类学角度来看,属于跨民族文化交流的产物,是民族冲突的附加结果,不能简单的归于跨越不同传统、国度的文化引进。油画在中国经过几代画家的努力,现在已发展成为民族绘画的一个分支。可以看到,现当代许多从事油画创作的画家正是立足于民族油画的建设,为中国油画的发展不懈努力,从而开创了中国绘画体系的新传统。李德辉作为一名执著于油画语言探索的青年画家,从他身上可以看到这种探索的清晰路线。李德辉早期从事写实油画的创作,熟练掌握油画材料语言的运用。近年随着个人对绘画追求角度的转换,开始注重以油画语言来表达自己内心的躁动。在创作中,他深深理解,油画要想完全融入民族艺术的体系,具备中国绘画的精神,必须从中国传统文化,特别是中国画自身借鉴较为成熟的语言范式和笔墨技法,才能使油画脱胎换骨,完全表达出中国人的心灵。
As an introduction of new paintings in the late 19th century, from the perspective of anthropology, oil painting belongs to the product of cross-ethnic cultural exchanges and is an additional result of ethnic conflicts. It can not simply be attributed to the introduction of culture across different traditions and nationalities. After several generations of painter’s efforts in China, oil painting has now developed into a branch of ethnic painting. It can be seen that many painters engaged in oil painting in the present and contemporary era are based on the construction of national oil painting and worked tirelessly for the development of Chinese oil painting, thus creating a new tradition of Chinese painting system. As a young painter dedicated to exploring the language of oil painting, Li Dehui can see the clear line of exploration from him. Li Dehui early engaged in the creation of realistic oil painting, mastering the use of canvas materials language. In recent years, with the conversion of individuals pursuing the pursuit of painting, they began to pay attention to using the language of painting to express their inner agitation. In his creation, he deeply understood that in order to fully integrate into the system of national art and possess the spirit of Chinese painting, oil paintings must be borrowed from the more mature language paradigms and techniques of brushwork and ink from the traditional Chinese culture, especially the Chinese painting itself, Fully express the Chinese people’s hearts.