大象无形—浅谈对中国工笔人物画写意性的认识与发展

发布时间：2018-02-21 23:27

本文关键词： 工笔人物画写意性外来文化两端深入　出处：《中央美术学院》2014年硕士论文　论文类型：学位论文

【摘要】：中国工笔人物画已有上千年的发展历史,从最初出现在新石器时代彩陶纹样上的较抽象的人物造型起始,到历经晋、唐、宋的辉煌和繁荣后,因“文人画”兴起,直至明清而往后的数年使大家对工笔画产生误解,而忽视了它的发展。近些年,经过几代老一辈工笔人物画家的艰辛努力,才使得工笔画走出困境,再度兴盛起来,人们也开始重新认识工笔画。工笔并不代表工匠,而写意也并不一定就是狂放,这些观点都太过于片面,写意性是工笔画千年来固有的文化特征,它体现的更多的是一种情感和精神,“工笔画的写意性”,看似是一个矛盾的命题,实则它为我们研究,传承,发展工笔画提供了新的推动力。
[Abstract]:Chinese meticulous figure painting has a history of development for thousands of years, from the beginning of the more abstract figure modeling that appeared on the painted pottery pattern of the Neolithic Age, to the glory and prosperity of Jin, Tang and Song dynasties, the rise of "literati painting". It was not until the Ming and Qing dynasties that the years that followed caused people to misunderstand and ignore the development of meticulous brushwork. In recent years, after the painstaking efforts of several generations of painters of fine brushwork, the painstaking efforts of the painters of fine brushwork made them emerge from the predicament and flourish again. People are also beginning to reunderstand meticulous brushwork. Fine brushwork does not represent artisans, and freehand brushwork is not necessarily wild. These views are too one-sided. Freehand brushwork is a cultural feature inherent in fine brushwork for thousands of years. It reflects more emotion and spirit, "the freehand brushwork of fine brushwork", which seems to be a contradictory proposition, in fact, it provides a new impetus for us to study, inherit and develop the fine brushwork.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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