摘要
20世纪80年代,黄冠余作为“同代人画会”的核心成员,通过“同代人油画展”为当时的中国画坛带来了“清新空气”;他主持设计的剧目《李大钊》获“文华设计奖”,被誉为“舞美绘画两栖人”。黄冠余在艺术道路上不断求新求变,深入挖掘东方美学,形成了以“荷”为主要意象的标志性艺术风格。本文通过采访,记录了他在艺术创作中的思考与实践,以及对艺术形式与意境处理的独特见解。
1980s,Huang Guanyu.as a core member of the"Contemporaries Painting Society",brought a"breath of fresh air"to the Chinese art scene through the"Contemporaries Oil Painting Exhibition".He won the"Werhua Design Award"for his design of the play"Li Dazhao"and was hailed as a"dual-talented person in stage design and painting".Huang Guanyu constantly sought innovation and change on his artistic path,delved deeply into Esstern aesthetics,and formed a distnctive aristic style with"lotus"as the main image.This article records his thoughts and practices in aristic creation,as well as his unique insights into the handling of artistic forms and artistic conceptions through interviews.
出处
《美术观察》
北大核心
2025年第6期132-136,F0002,共6页
Art Observation
关键词
黄冠余
同代人画会
东方美学
荷花意象
创新求变
本土艺术
Huang Guanyu
Contemporary Artists'Assoclation
Eastern Aesthetics
Lotus Imagery.Innovation and Change
Indigenous Art
