劉海粟山水畫風格演變之研究

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题名:	劉海粟山水畫風格演變之研究
其它题名:	Research on the style development of Liu hai su's Landscape-paintings
作者:	曾西蓉 Tseng, Hsi-jung
貢獻者:	美學與藝術管理研究所張權 Chuan Chang
关键词:	風格;山水畫;劉海粟 landscape;style;Liu Hai Su
日期:	2007
上传时间:	2015-04-20 15:32:20 (UTC+8)
摘要:	劉海粟（1896∼1994）江蘇常州人，中國近代有名的美術教育家更是傑出的藝術家，一生經歷豐富，跨越一個世紀。1912年創立的上海圖畫美術院，創辦中國第一本美術雜誌，開男女同校學習之先河，在藝術方面的著作豐富。　　　　本文探討劉海粟的山水畫風格之演變，採用歷史研究法、理論分析法、訪談法、綜合歸納法加以研究，不但以劉海粟山水畫風格形成為主，也探討其風格的形式與內容。從第二章起以如何影響他畫風的主要因素，包括劉海粟個人的個性、生平、背景、師承、交遊情形、婚姻狀況等。　　　　第三章中深入探討他一生中之思想源流，如何受傳統觀念與歷代畫家的影響，並師法古人、師法造化與兩次歐遊，學習西洋繪畫，了解西方印象派與後印象派，創作出以西融中、異質同構的獨特表現方式。他十上黃山，並以黃山為主題創作大量潑彩寫生畫，探討說明他如何獲得黃山的創作靈感來闡述寫生的重要。　　　　第四章將劉海粟山水畫分成奠基、發展、創作三個階段以探討其演變過程，整理其各期的畫風。分析山水畫的風格包括主題、構圖、造形、筆墨、色彩、空間佈置的形成因素與內涵並加以比較，他的潑墨與潑彩畫風格特殊，在晚期創作出屬於民族化的潑彩畫。其風格之形成背景、風格之形式與內容，均詳加分析解讀。　　　　總括第五第六章中作出結論，歸納出劉海粟的山水畫是從傳統出發，以黃山為主題，融合中西，運用色彩與潑墨潑彩潑水交互運用所產生的一種繪畫風格。他重視色彩、重視寫生、重中西的融合，劉海粟的山水畫有極大成就，在中國美術史佔一席之地，在當今水墨畫壇是具影響力的。　　Haisu Liu (1896-1994), born at Chang-chou in Chiang-su, is a contemporary world-famous Chinese painting master as well as an art educator. He had considerable experience and his lifetime spanned almost a century. In 1912, Liu founded China's first art school, Shanghai Painting Art Academy, launched the first art magazine, and pioneered the establishment of co-ed schools; additionally, he was highly productive in artistic works.　　　　This study is aimed at probing into the development of Haisu Liu's landscape painting styles. This research is conducted with historical research, theory-analysis, interviews and synthesis-induce. Not only the formations of Haisu Liu's landscape painting style are focused, but the forms and contents of his style as well. In Chapter Two, the main factors affecting his style of painting are discussed, including Haisu Liu’s personal characters, entire career, background, learning, companionship, and marriage.　　　　Chapter Three is intended to further explore the origin and development of his thoughts on his lifetime painting— influenced by previous art masters of different dynasties and learning from the ancients as well as his teachers. He also did detailed research into Western Impressionism and Post Impressionism after two visits to Europe for learning of Western painting. Afterwards, he created and displayed a unique painting style by combining traditional Chinese painting methods with Western techniques. Besides, he had ascended the mountain, Huang-shan for ten times and made ‘splash-color sketch’ on the subject of the mountain, which expounds how his artistic creation was inspired from Huang-shan and accentuates the significance of sketch. 　　　　In Chapter Four, Haisu Liu’s landscape paintings are divided into three stages, fundamental, developmental and creational, as a basis for discussion. The data on Haisu Liu’s various landscape painting styles of different stages, including the theme, composition, shape, ink, color, and spatial arrangement, are collated to analyze and compare. His ‘splash-color painting’ is exceptional and expressive of national features created in Liu’s late years. The formative background, style, and content of this unique painting are all interpreted afterwards.　　　　Haisu Liu’s landscape painting style is concluded in Chapter Five and Six, beginning with traditional techniques on the subject of Huang-shan, blending Chinese painting style with Western ones, and employing color, ink, and splash-color to produce the interplay between them. He regarded the brilliance of color, the presentation of sketch, the integration of Eastern and Western aesthetics styles in his painting. Haisu Liu is distinguished for his landscape paintings and holds a prime position in Chinese art history. His works indeed exert a great influence in contemporary art painting circles.
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