【作者】 丁志伟；

【导师】 李明伟；

【作者基本信息】 河南大学 ， 美术学， 2012， 硕士

【摘要】 作为革命家和女性画家双重身份的何香凝，其绘画风格的形成是一个复杂的过程，简单的说经过了岭南派、日本风格和中国传统风格乃至西方写实绘画的多维度的融合，而且其绘画实践总是和其革命实践有机的融合于一起，在革命的实践之中，何香凝的风格从“小我”逐渐的上升到“大我”，并很好的将西方绘画的写实性因素和中国古典绘画的水墨淋漓表现予以很好的融合，在这种融合之中体现了她作为一位女性革命家的主体意识。这种主体意识是从何香凝小时候就具有的，坚决上私塾、誓不裹足，在其后与廖仲恺结为伉俪之后就因一部的予以彰显，随着革命的深入和救亡意识的增加，何香凝选择了赴日留学以寻求救国之道，在日本学习绘画的过程中积极的融入到了民主救亡运动之中，加入同盟会，并追随中山先生积极的进行后勤工作，在随后的艺术实践当中，何香凝不断的出入岭南画派各家，而且也不断的进行绘画方面的传统探索和现代探索，在其风格形成的阶段之中，经历了如下日本画基础之上的融合；水墨转向以及西画技法的理性运用，这几种探索和实践都体现出了何香凝在对于绘画风格融合方面的大胆尝试，但是在融合中西绘画的差异的实践当中，何香凝并没有完全的抛弃中国绘画的水墨优势也没有完全依附于西方绘画的强大写实性功能。而是在有秩序的画面当中去控制水墨造型和立体造型两者的关系。而在新日本画的融合方面，何香凝也采取了很多革新化的手段，这种变化一方面仍然带有很明显的日本画风格个特征：比如对于天空和水墨的处理仍旧是大面积的墨色渲染，在浓墨的的浑厚之中加以彩色的点染，另外一方面，她大量的使用中国山水画的技术语言来融入日本风格的绘画，使中国绘画关于山石处理的固有笔墨程式的优势，也有日本绘画在渲染和烘托气氛方面的优势，在植物的处理上，显示出了中国传统绘画笔墨语言的优势，利用很遒劲的皴法来描绘松木的肌理感，同时又利用富有装饰性很强的技法来处理背景。而在绘画题材上，狮虎和花木是何香凝经常表现的内容，狮虎的表现体现出了何香凝对于西画造型手段的强化以及对于水墨造型的自由使用的结合，而且在寓意上也显得富有深刻的含义，以狮虎来比喻中华民族的觉醒，而彰显了何香凝对于民族危亡的关切之情；而在花木的处理上也是如此，无论是梅花，还是菊花或者松树，何香凝都注重到了不同物体本身的面貌而进行不同的用笔方式的差异，这种造型手段融和了国画语言的丰富自由和西画语言的严谨有度，两者和谐的予以统一。这是何香凝作为一个女画家走向风格化的一个标志。随着新中国的成立，何香凝的个人绘画风格也随着新中国的蒸蒸日上而显得平和淡雅，在画风上也没有了在旧中国时期的那种很明显的斗争意识和冲突精神。总的来说，研究何香凝的意义在于通过对何香凝绘画风格的形成和发展以及确立的过程来揭示其绘画实践和革命实践的互动关系，以及人品和画品直接的影响关系，从而将“小我”的认识上升到“大我”的价值之中。更多还原

【Abstract】 As a revolutionary and female painter dual identity he xiang ning, its style of painting form is acomplicated process, simple said after the ling nan, Japan style and Chinese traditional style and westernrealistic painting multidimensional integration, and the painting is always the revolutionary practice andpractice of the organic integration in together, in the practice of revolution, he xiang ning style from "theego" gradually rise "I", and will be a very good western painting honesty factors and classical Chinese inkand wash painting performance to be very good fusion, fusion in the expressed her as a womanrevolutionary’s main body consciousness. This subject consciousness from when he xiang ning with, andresolutely xue, on which is bound feet, in the subsequent married couple with liao zhongkai after the of partto reveal, with the depth of the revolution and the increase of saving consciousness, he xiangning chose tostudy abroad, in order to seek the way of saving, in Japan to study painting process positive in thedemocratic campaign saving, joined the union, and follow Mr Zhong shan positive for the service work,later in the practice of art, he xiang ning constantly in and out of ling nan school houses, and also we arepainting the traditional exploration and modern explore, in the style of the formation of stage, experiencethe following Japan’s picture on the foundation of the fusion; Ink painting turn and the rational use ofsponsors techniques, these kinds of exploration and practice are reflects in painting style he xiangning forintegration bold attempt, but in the fusion of Chinese and western painting of the differences in practice, hexiangning has not completely out of the Chinese painting style ink advantage not fully attached to thewestern painting strong realistic function. But in order to control the ink paintings modelling and stereomodelling the relationship between the two. And in the new Japanese painting of integration, he xiangninghas taken a lot of innovation of means, this kind of change with one hand still obvious Japan painting stylefeature: like in the sky and the processing of ink painting is still large area of rendering process, in the thickof the ink to the color of vigorous DianRan, on the other hand, she use a lot of Chinese landscape paintinglanguage to embrace the technology of Japanese style paintings, make the Chinese painting with inherentwords about rocks of the program’s advantage, also have Japanese paintings in the rendering and foilatmosphere advantages, in the processing of plants, show that the Chinese traditional painting pen and ink advantage in language, the use of very great flourish chapped law to portray the texture of pine sense, andat the same time, use adornment sex is very strong technique of the rich to deal with background. And inpainting subjects, the lion and tiger and flowers and trees is he xiangning often do content, the lion andtiger performance shows the sponsors of the shape means he xiangning for strengthening and for the freeuse of ink painting modelling combination, and also appear in moral rich in deep meaning, to the lion andtiger to describe "the awakening of the Chinese nation, and revealed he xiangning for national peril ofaffection; And in flowers and trees on the processing of also is so, whether the plum flower, orchrysanthemum or pine trees, he xiangning pay attention to the different object itself to the face of thedifferent ways with the pen and the difference, the shape means blends the traditional Chinese paintinglanguage rich freedom and the language very rigorous regularly, both harmonious be unified. This is hexiangning as a female painter to stylized a sign. With the establishment of the new China, he xiangningpersonal painting style also with the flourishing of new China and appear gentle quietly elegant, in the styleis not in old China period of that kind of obvious struggle consciousness and spirit of conflict.In general, the meaning of the research he xiangning through he xiangning style of painting formationand development and establishment of the process to reveal its painting practice and revolutionary practiceinteractions, and personal character and the influence of the painting article directly, and will be "the ego"rise to the understanding of the value of the spiritual self.更多还原