陈洪绶

这四个方面几乎囊括了当前陈洪绶研究中所取得的已有成果。

These four areas cover almost shou current research results have been achieved .

取材，体现了陈洪绶的精神品味，是作品拙的前奏。

Material , embodied the spirit of Chen hong-shou tastes , are works of " humble " a prelude .

在纵观25年以来，关于陈洪绶的研究著作之后，选取前人未涉及的关于陈洪绶诗文、书法的研究。

Throughout 25 years in , after the research work on the shou , selected on the previous did not involve shou poetry , calligraphy study .

第四章着重魏晋人物画图式和造型语言和陈洪绶人物画和造型语言的承继关系。

The fourth chapter goes to the inheritance relationship of the figure painting schema and modeling language of paintings in Wei-jin period and paintings of Chen .

玉兰花蜿蜒曲折的造型与下方的山石形成呼应，画面气息奇古怪诞，是陈洪绶的风格之作。

In the painting rocks of grotesque shapes and appearances at the bottom serve as foils to set off magnolia and peony flowers painted in bright colors .

文人意识是陈洪绶区别于大多数工笔画家的重要特点，使他在工笔花鸟画历史上具有独特的地位。

The literati consciousness which is the most important features different from traditional brushwork painters , making him in fine brushwork flower-and-bird painting history has a unique position .

本文以陈洪绶这位被当代海外学者称为十七世纪最具个人风格的画家为例，分析他不同古人的高古画风。

Chen Hongshou the most characteristic painter who is known aboard as an example for analyzing his different elegant and classical painting style , which is different from the former painters .

二是不同的人格特征和心理内涵导致了二人艺术品质的显著差异，陈洪绶和伦勃朗有着各自鲜明、独特的艺术个性；

The second point is that different personality characteristics and psychological connotations result in the obvious differences in artistic qualities . This part mainly discusses their clear distinctive artistic traits respectively ;

从《仕女》作品中我们可以看出，陈洪绶的人物画造型夸张，形象奇古，反映了画家思想上的矛盾以及对其时代的否定与讽刺。

Obviously , the figures in the Elegant Ladies are exaggerated with queer images , a revelation of the painter 's contradictory thoughts and his negative and ironical attitude toward his time .

学术界近几十年对于陈洪绶的个案研究成果中，关于绘画造型渊源的研究似乎是一个较为“陈旧”的话题。

Among the achievements of the case study of Hongshou Chen in the academe during the past decades , it seems that the study about the origin of form of painting has been an " older-fashioned " theme .

陈洪绶一生的绘画入三境，即少而妙，壮而神，老则化。在这个过程中可以看到，陈洪绶一生修其拙，这正是中国文化中大巧若拙的思想与智慧。

Chen hong-shou life paintings into three habitats , In this process we can see that life Chen hong-shou repair their " humble ", this is the Chinese culture " big Zhuo Qiao if " thinking and intelligence .

文章的主体部分是对陈洪绶如何以古为新进行的个案研究，但就陈洪绶对传统的认知，时代感的把握的从艺态度而言，是值得我们借鉴和学习的。

The main part of the article is to do the case study about Chen Honshu how to " the new to old ", but to the traditional perception of contemporary art for sure in terms of attitude , is worth learning and learning .

顾恺之、陈洪绶、傅抱石是各自所属时代人物画艺坛的杰出代表，他们既受传统的洗礼成为传统的缩影，又呈现出独特的个人风格，代表了时代的精神。

Gu Kai-zhi ; Chen Hong-shou ; Fu Bao-shi , Panting is an outstanding representative of their respective era portraits art scene , well received by traditional baptism into the traditional microcosm , showing a unique personal style , and represents the spirit of the times .