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第十一屆亞洲藝術(shù)節(jié)部分當(dāng)代名家參展作品賞析(組圖)

減小字體

增大字體作者：佚名來源：中國山水畫藝術(shù)網(wǎng) 發(fā)布時間：2022-06-06 12:09:33

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劉海粟作品渡口 1981年 50cm×70cm

編者按：本次通過線上展出的二十幅名家油畫精品是均為友人私藏，是曾在2009年8月作為中國當(dāng)代名家油畫作品參加了第十一屆亞洲藝術(shù)節(jié)的展出活動。

這次的展出也只是藏家的部分藏品，如有條件，本網(wǎng)將陸續(xù)分類展出該藏家的其他館藏藝術(shù)珍品，以供廣大網(wǎng)友賞析。此次展出的藏品，亦可結(jié)緣轉(zhuǎn)藏，如有意向可聯(lián)系本網(wǎng)編輯部，我們會及時轉(zhuǎn)告，屆時雙方可面唔細(xì)談。

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靳尚誼作品病中的周總理 1974年 77cm×100cm

當(dāng)代名家油畫經(jīng)典原創(chuàng)藝術(shù)

Contemporary Famous Oil Paintings Classic Original Art

油畫早在明清時期就已經(jīng)傳入了中國，但那時僅僅是外國使節(jié)在拜訪中國皇帝時進(jìn)奉的國禮，普通國人根本沒有欣賞這種美侖美奐的藝術(shù)珍品的機(jī)會。

i paintings have being introduced into China since Qing Dynasty. While at that time, these were just the hational gifts for the Chinese Emperor from foreign envoys. Normal people didn’t have the chance to enjoy fantastic art master pieces at all.

直到清末民初，西學(xué)東漸之風(fēng)興起后，才有一批年輕的中國人，懷著對油畫藝術(shù)的熱愛和執(zhí)著，開始西赴歐美，東下扶桑，克服了在異國他鄉(xiāng)難以想像的困難，就象蜂兒采蜜一樣，吮吸著西方文明的精華營養(yǎng)，探索著油畫藝術(shù)的流派風(fēng)格，嘗試著“洋為中用”的方法途徑……通過幾代人的不懈追求，終于使油畫這一完美的藝術(shù)形式，逐漸融入了中華民族文化的血脈之中，為古老的中國藝術(shù)殿堂里移植了一顆亮麗耀眼的奇葩。

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吳冠中魯迅故鄉(xiāng)-紹興 1978年 60cm×90cm

Till the end of Ming Dynasty and the beginning of Qing Dynasty,and after dissemination of western knowledge to China coming in vogue,there comes a bunch of Chinese young men carrying the enthusiastic love and obsession towards oil painting art.They began to go to Europe and America, overcoming unimaginable difficulties,in order to absorb the essence of westerncultures’nutrition like bees gathering honey, searching for oil painting’s stvles and genres. They were trying to make foreign things serve China…According to unremitting efforts of several generations oil paintinas. which is the perfect art form. had melted into the vein of Chinese national culture eventually,They hadtransplanted a shining and bright flower to the ancient Chinese art

pa ace hall

彈指間，中國油畫已走過了百年歷史，不同時期，不同風(fēng)格的藝術(shù)開拓者和奠基者們都在他們各自的探索經(jīng)歷中留下了深深的足跡，并從中涌現(xiàn)出劉海粟、徐悲鴻、林風(fēng)眠、吳冠中、靳尚誼、陳逸飛等一大批具有世界影響的大師。他們的經(jīng)典原創(chuàng)作品，已成為東西方文化交流的藝術(shù)瑰寶，受到了國際美術(shù)界的一致推崇。進(jìn)入二十一世紀(jì)之后，第一代、第二代藝術(shù)家們大多過世了，他們有限的存世作品大部分已成為各地美術(shù)館、博物館的鎮(zhèn)館之寶，平時深藏不露，難得一見。而一些散落在社會上的作品更成為海內(nèi)外收藏家們的追逐目標(biāo)。

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關(guān)良作品京劇人物 1979年 77cm×102cm

近年來世界各地藝術(shù)品拍實會上屢創(chuàng)新高的中國油畫價位，已凸現(xiàn)出名家經(jīng)典原創(chuàng)作品無與倫比的藝術(shù)魅力，并折射出名家名作在藝術(shù)史上的坐標(biāo)位置以及未來的增值趨勢。

in a flash, Chinese oil painting has gone through hundreds of years. In different times, different styles of ioneers and founders left deep footprints during their respective exploring experiences. Here emerge a lot of a such as Liu Haisu, Xu Beihong.LinFengmian,Wu Guanzhong,Jin Shangyi and Chen Yifei. Their classic orig aster pieces havebecome the art treasures for communications betweeneastern and western cultures. wh were unanimously rewarded by the painting circus. After entering the 21st century, most of the first and the secoi generations of artists passed away. their linnited master pieces turned into the most valuable treasures of art galler and museums in various places. Some master pieces left in society have become the goals of collectors all ove world. In recent years. the Chinese oil paintings’prices repeatedly hit new peak, showing the artistic charmin virtuosos’classc and original master pieces.It also refracts the coordinate position in art history and value-a tendency in the future.

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