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岭南画家方人定1935年从日本留学回国,擅长描绘市井小民日常生活人物画。日本外交官须磨弥吉郎收藏的《后园》,则为其描绘大火鸡的花鸟画,须磨一贯对其作品的色彩高度评价,赞誉为画家杰作之一。在《后园》里所使用的厚抹和渗墨的两种技法,强烈反映了从大正到昭和初期的日本画坛主流倾向,尤其是与例如小林古径的《鹤与火鸡》(1928年)等作品类似。以这些日本的作品为对比,方的火鸡可说是西洋的肢体内融合了东洋的精神,表现了岭南派中西融合的理念,培育了一种升华象征性存在的可能性。
Lingnan painter Fang Ren set back from Japan in 1935 to study abroad, good at portraying daily life painting. Japanese diplomats must grind the “back garden” of Miyazaki collection, then paint the birds and flowers of Great Turkey for its painting and calligraphy, and must always wear a high evaluation of the color of his works, praising it as one of the masterpieces of painters. The two techniques of thick wiping and bleaching used in the “back garden” strongly reflect the mainstream tendencies of Japanese painting circles from the Taisho era to the early Showa era, especially the “Crane and Turkey” (1928), such as the Kobayashi ancient path, Works similar. Using these Japanese works as a contrast, the side turkeys can be described as a fusion of oriental spirit in the Western limbs, demonstrating the concept of Lingnanism as a fusion of Chinese and western cultures and fostering the possibility of a symbolic existence of sublimation.