首页|田园诗意间——陈孟昕"大工笔"语言范式的浪漫表达

田园诗意间——陈孟昕"大工笔"语言范式的浪漫表达

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自20世纪80年代,在第七届全国美展上崭露锋芒的《帕米尔风情》开始,到第八届的《一方水土》,第九届的《碑颂》,再到第十届的《暖月亮》,直至当下的《坦赞铁路·友谊丰碑》《怒族鲜花节·生活如歌》《大医新传》等,陈孟昕作品所呈现出的"大工笔"语言范式,标志着其绘画风格的确立.从某种意义上说,陈孟昕工笔人物画的风格变化,反映出20世纪末以来中国工笔人物画由传统向现代"转型"的整体发展趋势,体现出中国工笔人物画现代化进程的探索路径.尤其是新时代以来,工笔画领域所呈现出的多元共生景象,更是展现了其极具现代性的时代特质.
Idyllic Poetry—The Romantic Expression of Chen Mengxin's"Da Gongbi"Language Paradigm
In the 1980s,Chen Mengxin's artistic journey began with the prominent work"Pamir Style"at the 7th National Fine Arts Works Exhibition,followed by"A Land"at the 8th,"Ode to Steles"at the 9th,"Warm Moon"at the 10th,and present-day works such as"Tanzania-Zambia Railway·Monument of Friendship""Nu Ethnic Flowers·Life as a Song"and"Great Physician's New Biography".These works exemplify the established"Da Gongbi"paradigm of Chen's painting style.The stylistic evolution in his Gongbi figure painting reflects a broader trend in Chinese Gongbi figure painting since the late 20th century,transitioning from tradition to modernity.It signifies an exploration of modernization in Chinese Gongbi figure painting,particularly evident in the diverse and symbiotic developments within the field in recent decades.

Chen MengxinDa Gongbi paradigmpeople's characterdiversification in the new eraintegrity innovation

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延安大学鲁迅艺术学院

中国艺术研究院研究生院

陈孟昕 大工笔范式 人民性 新时代多元化 守正创新

2024

美术观察
中国艺术研究院

美术观察

北大核心
影响因子:0.107
ISSN:1006-8899
年,卷(期):2024.(10)
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