从表现主义精神看当代水墨人物画发展

发布时间：2018-03-13 07:36

本文选题：写意人物　切入点：德国表现主义　出处：《中央美术学院》2017年硕士论文　论文类型：学位论文

【摘要】：本文先分析研究传统写意人物画(水墨人物画)这个画种,得出其基本特性。由于材质的特殊性,从古至今,写意人物画也更倾向于一种表现主义的状态而非写实,《唐朝名画录》曾提及"图出云霞,染成风雨"表明水墨画在其诞生之初就已经显示出表现倾向,它的诞生,其实标志了传统绘画从具象到意象,从写实到写意,从再现到表现,成为文人抒情宣泄的工具。纵观西方表现主义艺术家席勒、蒙克等,在不同时期上的风格上的转变,不难发现随着对艺术的认识变得更加深刻,画家越来越不满足客观再现,舍弃客观模仿,勇于于发掘自身艺术感受力,重新用自己的造型去表现客观自然,这是吻合现代艺术的特征,也与美术史发展的方向相符,由于每个艺术家的内心都是一个完整的世界,通过分析自己,体悟和感受所处的状态,并创造出用心体悟出来的造型形象。通过分析国内画家卢沉、周思聪先生,其中重点研究卢沉和周思聪先生前期的主题创作作品与后期表现性的作品人物造型的差异,综合背景分析这种转变的轨迹,以及理论和创作心得,以《矿工图》为例,周思聪先生已从开始的"画什么"转到"怎么画"的课题上思考着实践着中国画的革新与突破,从对客观再现对象的升华到表现自我心境、思想、感情。借鉴外国艺术经验,不断发掘艺术的各种可能性,最终走向具有表现主义倾向的水墨人物画新路。
[Abstract]:This article first analyzes and studies the traditional freehand brushwork figure painting (water and ink figure figure painting) this kind of painting, obtains its basic characteristic, because of the material particularity, from ancient times till now, Freehand figure painting also tends to be a state of expressionism rather than realism. The famous paintings of the Tang Dynasty mentioned that "drawing clouds and dyed wind and rain" indicates that ink painting has shown a tendency of performance at the beginning of its birth, and its birth. In fact, it marks the traditional painting from concrete to imagery, from realistic to freehand, from reappearance to expression, and becomes a tool for literati to express their feelings. Throughout the western expressionist artists Schiller, Monk, and so on, the style changes in different periods. It is not difficult to find that as the understanding of art becomes more and more profound, painters are less and less satisfied with objective reproduction, abandon objective imitation, dare to explore their own artistic sensibility, and re-use their own modelling to express objective nature. This is consistent with the characteristics of modern art and with the direction of the development of art history. Because every artist's heart is a complete world, by analyzing himself, understanding and feeling the state in which he is in. Through the analysis of the domestic painters Lu Chen and Zhou Sicong, the emphasis is placed on studying the differences between the theme creation works in the early stage and the expressive works in the later period. Comprehensive analysis of the track of this change, as well as theoretical and creative experience, taking the miners' drawings as an example, Mr. Zhou Sicong has shifted from the beginning of "what to paint" to "how to draw" to reflect on the innovation and breakthrough in the practice of Chinese painting. From the sublimation of the objective reappearance object to the expression of self-mood, thought and emotion, drawing lessons from foreign artistic experience, exploring various possibilities of art, and finally moving towards a new way of painting with expressionism tendency.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

【相似文献】