共查询到20条相似文献，搜索用时 15 毫秒
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高飞 《安徽师范大学学报(人文社会科学版)》2019,47(4):69-77
明末清初的宣城,文人荟萃,尤在诗画领域,不乏俊杰,诗史、画史广有记载,绚烂夺目。梅清作为其中的代表,本以诗歌彰名,因擅画学,独立面貌,被时人尊为宣城画坛领袖。考察梅清的画学成绩,不独笔墨“盘礴多奇气”,題诗、跋画,亦有丰富的思想呈现。总括起来,盖由他的三方印文所传达,即“古人在我”、“不薄古人爱今人”和“我法”。梅清师古人,厚今人,古今笔墨皆为“我”用,综众家法窍,合作出他的清淡若影、松秀奇绝的山水视界。 相似文献
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Claire Gibb 《The International Journal of Art & Design Education》2012,31(3):237-244
Room 13 is a global uprising of creative and entrepreneurial children who are responsible for a growing international network of student‐organised art studios. Each Room 13 studio facilitates the work of young artists alongside a professional adult artist in residence, providing an exchange of ideas, skills and experience across the ages. The result is an ongoing collaboration between adults and young people and a thriving culture of philosophical enquiry driven by a motivation to think and to learn. My own experience with Room 13 spans from that of the student, to adult artist and practitioner. Working under the direction of subsequent student‐management teams, I have been fortunate to be involved in the process by which Room 13 has gone on to establish an international network of student‐run art studios, serving an expanding global community of young artists. The emerging global movement surrounding these studios calls for a serious revaluation of what art is – and who is qualified to make it. Room 13 not only augments the case for the work of young artists, but presents a challenge to the current systems for art education. As the quality of formal arts education is eroded by a universal need to standardise educational experiences, the training that Room 13 provides motivates individuals and develops their creativity in a way that outstrips anything that schools, or even art colleges, can currently offer. 相似文献
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王平 《内江师范学院学报》2014,(1):27-32
张大干一生博采众长,融会贯通,植根中国艺术传统又不断创新,终成一代艺术大师。张大千在融汇历代名家之长外,善于吸纳姊妹艺术营养,而摄影艺术就是其绘画艺术的重要源泉之一。摄影中的光影、透视、构图、色彩和视角等元素对张大千绘画有深刻的影响,成为促使他晚年画风巨变,开创泼墨泼彩画风的原因之一。 相似文献
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周兆望 《南京晓庄学院学报》2001,17(2):19-24
绘画是魏晋南北朝艺术园囿中的一朵绚丽夺目的奇葩,而六朝画坛独领风骚.无论从画家数量、名家名作、艺术成就,或是绘画理论及对后世的影响等各方面而言,六朝绘画在整个魏晋南北朝画坛中都占有举足轻重的地位.同时,六朝绘画还出现了许多新的特点,充分代表了那个时代的绘画艺术水平和成就,给后世以深远的影响. 相似文献
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本文通过研究中国油画家探讨的中国油画“民族化”问题，结合自己的创作实践，从艺术形式方面论述中国油画“民族化”需要在“中西结合”上不断探索和补充，形成能把民族精神和民族气质自然融入作品的富有中国油画特色的民族风格。 相似文献
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Gang Sui 《The International Journal of Art & Design Education》2019,38(1):125-136
The artistic practices of ekphrasis and reverse ekphrasis – integrating poetry and painting in their unique forms – have been long‐standing conventions both in the East and in the West. This article attempts to rationalise the new functions of the age‐old concept of reverse ekphrasis (i.e. graphic representation of verbal representation) as reactivated for the purposes of today's university‐level art education, and as exemplified by the international workshops of poetry‐inspired Chinese brush painting that I taught at The University of Central Lancashire (UCLan), UK, from 2012 to 2016, using English not only as a convenient contact language for art education, but also as a powerful vehicle for poetic self‐reflection, intertextual adaptation and intermedial transformation. To be more concise, my teaching approaches featured CREATE – Contact (C), Reverse Ekphrasis (R, E), Adaptation (A), Transformation (T) and Enrichment (E). The international workshop participants’ creative painting outcomes proved that, as brush painters, they could draw inspiration effectively from poetry written in English and/or poetry translated into English, so as to increase their personal capacity for artistic self‐expression and intercultural communication through Chinese‐style brush painting. 相似文献
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贵州省农民画调查与研究——以六盘水市水城县滥坝镇双水村为个案 总被引：1，自引：0，他引：1
杜春敏 《遵义师范学院学报》2011,13(6):135-137
贵州是多民族聚居的省份,少数民族历史悠久,有着丰厚的民间美术传统文化底蕴。自20世纪80年代以来,现代民间绘画作为一个传承和发展民间美术的新兴画种迅速发展起来。现代民间绘画习惯上被称作农民画,文章以水城农民画为个案来研究贵州农民画的历史、发展,重点讨论它的艺术特征以及贵州民间美术对它的影响。 相似文献
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龙恩海 《黔南民族师范学院学报》2009,29(2)
摄影和中国画同为平面艺术,摄影在继承和发扬中国画艺术的过程中曾出现各种富有创造性的形式;当代中国的翻天覆地的变化,给予艺术家以新的艺术灵感,摄影继承和发扬中国画艺术,应是去传承和再塑造中国画艺术的灵魂. 相似文献
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Pat Thomson 《Journal of educational administration and history》2019,51(2):87-102
ABSTRACTBusy leaders need time to reflect and renew. They need to consider the particularities of their school and the ways in which they can work with others in the school community to address pressing issues, as well as to make future plans. The metaphor of the studio offers some helpful avenues for thinking how this reflection might occur. Artists use their studios for respite, not knowing, generating new ideas, risk taking, integrating theory and practice, exercising criticality and developing socially just practices. Leaders might take a lead from artists; however, there are both space and time challenges to making the studio a practical possibility. 相似文献
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胡梦熊 《贵阳学院学报(社会科学版)》2012,(4):108-110
绘画中最简单与最便捷的表现手法就是线条,从我国远古时期的象形绘画到顾恺之等名家的绘画艺术,都是通过线条的表现与拓展来构成的艺术生命力。可以说线条是艺术峰巅的支点与骨架,更是构成绘画美的一个重要因素。中国画具有深厚的文化韵味与人文精神,主要以线条作为绘画造意的基础与方法,这来源于中国哲学中的"意"与"象"的深刻内涵。本文对中国传统绘画艺术中的线条美的特征与内涵进行分析,进而挖掘出绘画线条的艺术魅力。 相似文献
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豆海红 《宁波广播电视大学学报》2009,7(3):93-94,113
俄罗斯画家列维坦的风景画具有独特的意境美、浓厚的抒情诗意味和深刻的哲理性,洞察列维坦风景画中意境美的形成,源于他对大自然、文学、艺术、诗歌和音乐的热爱,他把这一切运用极具天赋的绘画才气和成熟的绘画语言浓缩在他的风景画中,使他的风景画诗意盎然、清新独特。 相似文献
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黄独峰是山水、花鸟和人物兼而能之的大家,在艺术实践中,他清醒地看到了笔墨除塑形写貌之外,还有其独立意义上的审美性。此外,黄独峰先生深知传统绘画中精神性表现的至关重要性,他在如何看待中西绘画相互发展的问题上,有着卓识远见,他在提倡学习西方绘画的同时,始终强调要把中国画的艺术特征发扬光大,他表现的题材广泛,已突破了“四君子”的束缚并且首创了神仙鱼的艺术形象。他坚持的是“亦古亦今、中西兼融”的绘画美学思想。 相似文献
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宋长江 《商丘师范学院学报》2012,28(10):136-138
河南民权画虎村的虎画属于农民画,无论是从画面语言还是从精神内涵来看,其虎画从诞生之初就具备了原始民间艺术特色。画虎村的虎画在艺术语言上采用灵动多变的线条和简单朴实的构图,色彩庄重而富有表现性。在审美情感中,画虎村的艺人们追求着老虎固有的雄浑威猛的生命精神,这种追求充分体现了中国美善一体的美学精神。 相似文献
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Jeff Adams 《The International Journal of Art & Design Education》2019,38(2):274-279
At a time of endemic xenophobia some artists have attempted to resist this trend by depicting its damaging consequences, revealing the inequalities that fuel its disfigurement of human relations and result in mass human displacement. Paul Dash's recent paintings of refugees attempting dangerous and degrading sea crossings are the main subject of this article, and these works are discussed in the context of his negative educational experiences as a child, and his salvation through painting in the sanctuary of his school's art room. This school experience and the trajectory of his artistic career are contextualised by the current marginalisation of the arts in the curriculum and the increasing scarcity of critical and creative approaches to education. 相似文献
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中国的题画诗,可以说是世界艺术史上的一种极其特殊的美学现象.题画诗是绘画章法的一部分,它通过书法表现到绘画中,使诗、书、画三者巧妙结合,构成了中国画的艺术特色,使人在读诗看画、看画赏诗之中享受艺术美.而元代著名文学家、书法家揭傒斯则是我国古代最具代表性的—位题画诗作家,他的题画诗意义深远,所表现的“幽人高卧”的山水意境、咏物咏怀的人生理想和诗画融合的审美追求堪称艺术典范. 相似文献
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意境作为中国画,尤其是山水画的灵魂是大多数画家都加以关注的.意是情与理的统一,境是形与神的统一,随着山水画的发展,意境也成了真假艺术品的分水岭.同时也作为山水画是否有生命力的一种象征. 相似文献