CAJ | 학술논문

作为贵州本土画家，孟光涛在中国20世纪五、六十年代特殊时代背景下的中国画改革语境中，以贵州自然山川作为题材，创作了一大批极具地域气质的山水画作品，真实表现了贵州自然世界的形态特征，形成了具有生活气息的“贵州新山水画”。不过，由于其在艺术本体语言方面缺乏较高的创造性，未能形成一种经典文本，这也导致了孟光涛的山水画与地域形态在本质上未能有更深的融合，地域自然的内在精神也未能做到更有效的挖掘表现。
작위귀주본토화가，맹광도재중국20세기오、륙십년대특수시대배경하적중국화개혁어경중，이귀주자연산천작위제재，창작료일대비겁구지역기질적산수화작품，진실표현료귀주자연세계적형태특정，형성료구유생활기식적“귀주신산수화”。불과，유우기재예술본체어언방면결핍교고적창조성，미능형성일충경전문본，저야도치료맹광도적산수화여지역형태재본질상미능유경심적융합，지역자연적내재정신야미능주도경유효적알굴표현。
As a local painter, Guizhou, China in the 21st century mengguangtao in the fifties and sixties, the context of the reform of Chinese painting under the special historical background, the mountains of Guizhou nature as a theme, a large number of highly creative temperament geographical landscape paintings, the true performance of the morphological characteristics of the natural world, Guizhou, formed a breath of life"Gui-zhou new landscape."However, due to their lack of creativity in the arts higher body language, but failed to form a classical text, which also led to mengguangtao landscape and geographical form, in essence, failed to have deeper integration, geographical nature of the inner spirit also failed to achieve a more efficient mining performance.