林風眠中國現代繪畫形式的探索—以山水畫為例

A Study on Lin Fengmian's Chinese Modern Painting Style by Landscape

張鴻瑜(Hung-Yu Chang)

《藝術論文集刊》 10&11期 (2008/10) Pp. 27-54

https://doi.org/10.29480/CPAR.200810.0002

摘要

作為中國繪畫藝術中最爲源遠流長的繪畫題材，山水畫也是中國繪畫異於西方繪畫傳統的代表，在20世紀中國現代藝術的探索中，林風眠的中西融合是以傳統的藝術語彙爲基礎，成功的爲中國繪畫融入現代繪畫的形式，從山水畫的中西融合探索中，可以看到他以簡練的筆墨結合西方現代藝術，流暢的處理繪畫的形式，呈現出筆墨的無限揮灑、抒情與寫意。林風眠不僅展現中國現代繪畫的時代性，更呈顯民族性與個性，本文試以林風眠山水畫爲例，從藝術理論的分析爲起點，藉由林風眠對形式的探索，審慎瞭解他對中國傳統繪畫特質與西方現代藝術的取法，以形式分析探討其開啟中國現代繪畫形式的成果。

關鍵字

林風眠 ； 山水畫 ； 中國現代繪畫 ； 中西融合

並列摘要

Landscape is a theme in Chinese pictorial art which has been passed down from generation to generation, and also a representation standing out the profound differences of Chinese art from Western paintings. Through exploring the Chinese modern art of 20th century, Lin Fengmian, utilizing traditional Chinese art genres, has merged Chinese and Western art and successfully impregnated modern pictorial forms with Chinese painting. His terse depiction, combining Western modern art, produces an affluent painting form and reveals his unrestrained, vigorous, sweeping and lyrical style. Lin not only presents the significant era of Chinese modern painting by his works, but also emphasizes his personalities and ethnic features. This article, through exploring the art form of Lin Fengmian, hopes to analyze the impacts of his landscape, taking the essences from Eastern and Western Art and initiating the modern Chinese painting forms, and discusses traditional Chinese pictorial features and Western art from his interpretation of art theory.

並列關鍵字

Lin Fengmian ； Landscape Painting ； Chinese Modern Painting ； Merged Chinese and Western Art

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