民国时期京津两地的传统绘画支持网络

【作者】 张楠；

【导师】 赵力；

【作者基本信息】 中央美术学院 ， 美术史， 2010， 硕士

【摘要】 近年来对于中国民国时期的传统派画家1的研究大都关注社团(如中国画学研究会与湖社)或地域(北京或上海)两个方面,个案研究则是选择群体或地域的核心人物(如金城)为对象,对于其他众多人物则缺少深入立体的了解。本文选择陈少梅这样一位活动于民初北方画坛的画家进行个案研究。他在二十世纪二十年代初来到北京,师从金城并加入中国画学研究会,后来又成为湖社的骨干会员；他选择北宗作为习画的立足点,并有所扬弃,形成南北融合的个人画风；三十年代开始主持湖社画会天津国画传习社,逐渐成为在当地引起广泛影响的传统派画家。论文试图以陈少梅民国时期在京津两地的艺术活动为切入点,探讨他所获得的成就与近代以来的美术思潮、美术教育、美术传播交流机制及赞助机制之间的关系。更多还原

【Abstract】 In recent years, the Republic of China for the Chinese traditional painter of mostly concerned about the community (such as the Chinese Painting Research Society and the Lake Club) or regional (Beijing or Shanghai) are two aspects of the case studies is the choice of the central figure in the group or region (such as Jincheng) for the object, for many other people were missing in-depth three-dimensional understanding. This event was such a choice, ChenShao mei Republic of China north of the artist painting a case study. He came to Beijing in the early twenties, he studied under Jincheng and joined the Chinese Painting Research Association, later to become the backbone of Lake community members; he chose the North were to art as a foothold, and has been abandoned, the formation of North-South integration of individuals style; thirties began painting over Lake community will be painting with a teaching agency in Tianjin, has gradually become widespread impact in the local traditional painter. Paper tries to ChenShao mei in Beijing and Tianjin during the Republic of the arts, the achievements of his access to art and thought in modern times, art education, art exchange mechanism and the transmission mechanism of the relationship between the sponsor.更多还原