风景绘画中的自然与劳动：库茵芝与晁楣的艺术比较

Nature and Labor in Landscape Painting: A Comparative Study of Arkhip Kuindzhi and Chao Mei’s Artistic Practices

摘要: 在世界风景绘画领域，涌现出了不少艺术大家，他们的作品或多或少都表现出了对自然的崇敬与喜爱。库茵芝是十九世纪俄国巡回展览画派的重要成员，同时以风景画作品在俄国画坛享有盛名，他的画面总是能够引起观者产生宁静、诗意、唯美的共鸣。晁楣是二十世纪中国北大荒版画的奠基者，他以北大荒为题材创作版画，生动呈现了垦荒时期的社会生活，其中大篇幅的风景刻画传达出的画面感受与库茵芝的作品有异曲同工之处。文章通过对库茵芝和晁楣风景绘画中的绘画题材、绘画思想、绘画技法等的异同进行比较分析，为理解风景绘画的深层意蕴提供佐证。

Abstract: In the global landscape painting tradition, numerous master artists have demonstrated varying degrees of reverence and affection for nature through their works. Arkhip Kuindzhi, a prominent member of Russia’s Wanderers (Peredvizhniki) movement in the 19th century, gained renown for his landscape paintings that consistently evoke a sense of tranquility, poeticism, and aesthetic harmony. Contemporary Chinese artist Chao Mei, recognized as the foundational figure of Beidahuang printmaking (North Great Wilderness) in 20th-century China, created woodcut works documenting the social realities of land reclamation periods, with his expansive landscape depictions revealing remarkable aesthetic parallels to Kuindzhi’s oeuvre. Through a comparative analysis of the similarities and differences in subject matter, artistic ideology, and technical execution between Kuindzhi’s and Chao Mei’s landscape paintings, this article provides evidence for understanding the deeper implications of landscape painting.