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    Please use this identifier to cite or link to this item: http://nthur.lib.nthu.edu.tw/dspace/handle/987654321/78588

    Title: 黃賓虹的繪畫理論
    Other Titles: Huang Pin-hung's Theory of Painting
    Authors: 郭繼生;Jason C. Kuo
    Date: 1994/12
    Publisher: 國立清華大學出版社
    Relation: 清華學報,國立清華大學,1994,new,v.24,n.4,p495.
    Keywords: 黃賓虹
    Huang Pin-hung
    Theory of Painting
    Modern Chinese Painting
    Abstract: 黃賓虹是現代中國最重要的一個藝術家。經由他的作品裏對傳統文人畫的理論、技法及風格的融合,他獲致對於傳統的創新,進而豐富了傳統。因此,他體現了現代中國歷史裏解決現代化及維持傳統這兩種力量之間的衝突的方式。本文探討他對筆墨、用水、用色、章法、虛實及繪畫本質的看法,以便瞭解其繪畫理論。最後本文考察他晚年作品裏那些看似「未完成」的畫作的審美特質。
    Huang Pin-hung (1864-1955) has been regarded by many writers as one of the most important modern Chinese artists. Through his synthesis of the theories, techniques and styles of traditional literati painting in his own work, he was able to achieve innovation that enriched the tradition. Thus he exemplified the solution to the tension between the simultaneous effort to modernize history. The present essay deals with his theory of painting by discussing his views on brushwork, ink, water, pigments, composition, relationship between the void and the solid, as well as the nature of the art of painting. It concludes with a consideration of the aesthetic quality of his seemingly "incomplete" painting from the last decade of his life.
    URI: http://thjcs.web.nthu.edu.tw/files/14-1662-41515,r2987-1.php
    Appears in Collections:[01 清華學報] 新24卷第4期

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