新工笔人物画意象空间的展现

发布时间：2018-03-18 00:12

本文选题：意象空间　切入点：寓意性　出处：《华中师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：21世纪初期以来,工笔人物画的创作呈现出一片繁荣景象,一种被称为‘新工笔’的绘画现象引起了画界的广泛关注。从属于“新工笔”绘画现象的新工笔人物画,在空间语言的表现上没有拘泥于时下趋于写实的绘画方式,在绘画语言上也不同于胡伟、胡明哲那种抽象化形式,这批画家在绘画语言上把实际物象和空间进行了打破重构,创造出一种脱离实际物象如梦一般的意象绘画空间,但是画中又充满了种种的客观事物元素。他们灵活地穿梭于现代与古典、东方与西方各种文化艺术之间,追求绘画在精神上视觉上和审美上的一种融合,以此为工笔人物画的发展找到一个新的出路。意象空间很容易被人们理解为画面中人和背景之间的空间距离,人和物之间的空间距离以及人与人之间的空间距离等。事实并非如此,它与西方绘画空间的塑造有很大不同。传统的视觉艺术意象具有可视性,能直观地表达出事物,同时兼具立体感和空间感。传统绘画极注重主观内在的精神作用,“意象”的空间理念是传统绘画的精髓,同样也是工笔人物画的表现内核,“意象”的审美指导思想一直作用于工笔人物画的衍化与兴衰。本文对新工笔人物画家的意象空间观念及其作品的表现特征进行比较,通过对其中多幅代表性绘画的语言形式进行分析,发现了新工笔人物绘画在空间构成元素上表现为平面性和三维纵深感的相互融合,是一种多维度的空间形制,在用线的处理上追求虚化纤细、画面线性空间的稀疏细密对比更强,在颜色的运用上追求灰色的调子以加强画面的整体性;在时空的表现上营造一种虚幻交错的情境。最终得出来新工笔人物画家的绘画是以心理和观念为主导,其次才是对于绘画审美形式上的追求。作为现代工笔人物画重要的一部分,新工笔人物画家在意象空间表现上的探索值得肯定,他们极大的勇气和极佳的创作理念为我们树立了一面旗帜。
[Abstract]:Since the beginning of 21th century, the creation of meticulous figure painting has shown a prosperous scene, and a kind of painting phenomenon called 'new fine brushwork' has aroused widespread concern in the painting world. In terms of the performance of the spatial language, there is no painting style that tends to be realistic nowadays, and it is also different from Hu Wei in painting language. Hu Mingzhe's abstract form. These painters broke and reconstructed the actual images and spaces in the painting language. To create an image painting space which is not like a dream of actual objects, but which is filled with various objective elements. They travel flexibly between modern and classical, eastern and western cultures and arts, The pursuit of painting in the spirit of visual and aesthetic fusion, to find a new way for the development of meticulous figure painting. Image space is easily understood as the spatial distance between people and background, between people and objects, and between people and people. It is very different from the creation of Western painting space. Traditional visual art images have visibility and can express things intuitively. At the same time, it has a sense of three-dimensional and space. Traditional painting attaches great importance to the inner spiritual function of the subjective, and the spatial concept of "image" is the essence of traditional painting. It is also the expression core of meticulous figure painting, the aesthetic guiding ideology of "image" has been acting on the evolution and decline of meticulous figure painting. This paper compares the image space concept of the new meticulous figure painters and the expressive features of their works, and analyzes the linguistic forms of many representative paintings. It is found that the new meticulous figure painting shows the fusion of plane and three-dimensional depth on the elements of spatial composition, is a multi-dimensional spatial form, and pursues the fineness in the processing of using lines. The sparse and fine contrast of the picture linear space is stronger, in the application of color, the pursuit of gray tone to strengthen the integrity of the picture; In the performance of time and space to create a kind of illusory staggered situation. Finally, it is concluded that the painting of new meticulous figure painters is based on psychology and concept, followed by the pursuit of aesthetic form of painting. As an important part of modern meticulous figure painting, the exploration of the image space expression by the new meticulous figure painters is worthy of recognition. Their great courage and excellent creative idea have set up a banner for us.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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