論林風眠　仕女圖繪畫語言

林風眠「仕女畫」調和中西藝術、創造時代藝術，融合西化技法、立體主義和表現主義概念與表現東方民族性和時代性的創作原則，用線條勾勒出仕女的輪廓，線條帶出陰柔氣質的古典美人，乾濕濃淡細膩的彩墨變化，透明性色澤的純凈及高雅的格調。使得作品既有較強的色彩感，又顯得色調和諧、沉穩，益增畫面深遠的空間感。然後加上光影與絢麗多彩，艷而不俗。「仕女畫」是林風眠擅長水墨人物畫創作風格其中之一，分四階段，第一階段，重慶時期（1938－1945）、第二階段，杭州時期（1945－1951）第三階段，上海時期（1951－1965）第四階段，香港時期（1977－1991）。每個時期均有不同的仕女畫韻味。第一階段：重慶時期（1938－1945）林風眠在這一階段的仕女作品，筆法方面主要淡化了傳統筆墨觀念，集中水墨畫敷以淡彩，略施顏色的設色形式之作品，注重在線條上的變化，色彩運用的層次也相對較少。第二階段：杭州時期（1945－1951）林風眠在中國畫的基礎上，畫面呈現勾染結合畫法，先勾線、後暈染，用色豐富、墨色層次加壘。致力媒材、技法、概念上的創新與突破的一種時代趨勢。杭州時期的仕女圖有著古典仕女的風韻，又有馬蒂斯式的人物呈現輕鬆優雅，可以說是調和中西藝術的融合與呈獻。是“中西融合”思想的展現。第三階段：上海時期（1951－1977）上海時期是林風眠的創作黃金時期，上海時期的林風眠創作達到“中西調和”的一個尖峰期。除了古裝仕女畫，還有現代仕女畫，尤其是仕女圖進入了創作的多元時期：1）主要的仕女在造型和結構追求莫迪利亞尼式的人體姿態。2）背景佈置是受到馬諦斯的影響。3）中心式構圖與其絢麗的色彩豔而不俗，具有濃鬱的抒情性和很強的表現主義色彩。4）加上中國水墨筆法。整體看來在林風眠的上海時期仕女圖就是東方的古典韻味、水墨筆法與西方的美學形式融為一體，展現“中西調和”的思想以及作品之中。第四階段：香港時期（1977－1991）在之前的風格基礎之上，仕女畫面中筆法豪放，色彩強烈與大膽、獨樹一幟、唯美、宗教性，其中的意函更加深厚，技法上也更加成熟，這與畫家的心境轉變密不可分，加上歷盡滄桑與人生哲理、總結人生歷練的作品。林風眠的仕女畫獨創之處在於，憑藉對西方繪畫特別是野獸派和表現主義的深刻認識，加上東方的古典韻味、水墨筆法，使仕女圖中人物姿態與構圖的韻律融會進“中西調和”的思想，具有不可比擬的表現力。

關鍵字

仕女圖；中西調和；繪畫語言

並列摘要

Lin Fengmian's ＂Lady Portrays＂ creates the contemporary art history by reconciling oriental and western arts. Incorporating with westernized skills, cubism concept, and creation philosophy that presents oriental nationality and time meaning, Lin portrayed the profiles of ladies with refined lines of feminine ancient beauties. With color changes of dry, wet, slender, and thick ink, transparent purity and elegant tone were presented. The artworks showed strong sense of colors but in harmony, serene manner to add remote spatial sense. Additionally, the skillful use of light and shadow gives more fascinating touches to his artworks.＂Lady Portrays＂ re one of Lin Fengmian's best known artworks of ink figure painting. There are four stages of Lin's creation of lady portrays: namely Stage 1 in Chongqing (1938-1945); Stage 2 in Hengzhou (1945-1951), Stage 3 in Shanghai (1951-1965), Stage 4 in Hong Kong (1977-1991) showing different characteristics. At Stage 1 in Chongqing (1938-1945), Lin's lady portrays were observed with weak presentation of traditional ink painting in fewer colors and think ink and strong focus on changes of lines. Comparatively, Comparatively, there was not much layered color utilization. At Stage 2 in Hengzhou (1945-1951), Lin, based on his basic Chinese painting skills, incorporated ink and washing painting method to portray lines before coloring with the use of diverse colors and layers. He was devoted to the new trend in his time to create breakthrough of media, skills, and creation concept. During his time in Hengzhou, his lady portrays were observed with the manner of ancient beauties but dressed in elegant style of figures in the paintings of Matisse, a harmonized and integrated way to reconcile the oriental and western art. It was the presentation of ＂harmonized oriental and western＂ philosophy. At Stage 3 in Shanghai (1951-1965), this was considered as the golden age of Lin's artwork creation, the peak of ＂oriental and western harmonization.＂ In addition to historical lady portrays, Lin painted portrays of ladies in modern time, a period when he created diverse lady portraits mainly because (1): in terms of style and structure of his lady portrays, Lin presented figures in the style of Modigliani: (2) background layouts were affected by Matisse, (3) the centered composition method and use of shiny colors showed the strong emotions and features of Matisse and presentationsim; and (4) he incorporated skills of Chinese ink painting. On a whole, Lin's style during this peak time in Shanghai can be described as the integrated oriental classic tastes and ink painting skills and western aesthetics, also the presentation of ＂oriental and western harmonization＂ in thoughts and artworks. At Stage 4 in Hong Kong (1977-1991), according to the foundation built, he demonstrated openness in painting skills of lady portrays with the use of strong and brave colors to present unique, aesthetic, and religious meanings deeply. His skills in artworks were more mature that ties closely to changes of his mindsets after his long life and lessons learned. Uniqueness of Lin's lady portrays lies in his deep understanding towards western paintings, especially in the style of fauvism and presentationism. With his knowledge of oriental classic taste and ink painting skills, his lady portrays well show the ＂harmonized oriental and western＂ philosophy in figure posts and composition that few artists can be compared to.

並列關鍵字

Lady portraits ； oriental and western harmonization ； painting language

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