浅论中国画“线条”的民族性

发布时间：2018-03-21 21:41

本文选题：中国画　切入点：线条　出处：《山西师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：艺术生命的诞生永远是处在不可捉摸的境地，她凭借自由与爱的智慧发现和孕育着自己的生命。艺术精神其实承载了人类的希望、美善、苦难以及信仰，，她启迪着人类的思想、开拓着人类的视野、抚慰着人类的情感并激发着人类的精神。当我们追根溯源时，不难发现其实中西方的绘画艺术是以同一种形式出现的，但随着历史的变迁和中西方的意识形态的发展，中西方的绘画艺术特点出现了很大的区别。因此，对于线条，中西方绘画艺术也对其做出了不同的阐释：西方绘画中的线条服务于所描绘物象的明暗体积，而中国画中的线条不仅可以达形而且可以传神，并且可以作为一个独立的审美存在。传统中国画的思想是民族哲学的体现与升华，中国古代儒、道、佛三种的哲学观念影响到了古人的价值观和审美趣味，也正是这种审美趣味促使中国画线条的不断发展和完善。而且在传统中国画中，道法的思想观念是占主导地位的，它不仅对揭示艺术品表层和深层、实象与虚象以及外在、内在的规律起着重要作用，也对个体生命与宇宙生命给出了很高的阐释。同时，儒家思想对传统中国画的影响也是不容忽视的，将人性的善与美带入中国画中，使作品透露出一种社会人文精神的“意”的情感。其实，中国画形式感是儒道结合之下的生命意象的天地。而中国画的线条则是表达这一切的基本形式。物质媒材也为中国画线条的表达提供了最基础的条件，线在毛笔、墨、宣纸的共同作用下有着丰富异常的笔墨变化，形成一种美感十足的意味形式。也正是因为这些物质媒材与传统中国画的意象相结合，使物质媒材脱离其特有的物理性质而提升到精神层面。线条的形式感同样也暗藏精神之意象，外在的线条的表现其实是被描绘客观物象内在的情感、精神以及理念。而传统中国画的在审美层面的意境、气韵等方面表现出来的种种正是儒道相结合的产物。不得不说，线是中国画的灵魂。千百年来，中国画画家一直在研究如何使线条更加丰富更加具有内涵。中国画发展到现在，已经形成了一套属于自身的独特机制：整合与分化。这种机制的出现是源于中国画在面对外部变化所做出的调试，一方面融合外来因素一方面调和传统因素。即在吸收借鉴外来因素的同时还要确保中国画整体系统的稳定性，这对于当代的中国画画家是很大的机遇与挑战。不得不说这种机制的出现，为中国画的创新发展提供了不竭的动力，在传承中国画的良好基因的前提下完成整合、提升、拓进的一系列过程，促使中国画的面貌多样化、风格个性化。
[Abstract]:The birth of artistic life is always in an inscrutable situation. She finds and breeds her own life by virtue of the wisdom of freedom and love. The artistic spirit actually carries the hope, the good, the suffering and the faith of mankind, and she enlightens the human mind. When we trace back to the source, it is not difficult to find that the art of painting in China and the West appears in the same form. However, with the change of history and the development of ideology in China and the West, the characteristics of painting art in China and the West are very different. Chinese and Western painting art has also made a different interpretation of it: the lines in Western painting serve the light and dark volume of the objects described, while the lines in Chinese painting can not only achieve shape but also be vivid. And can be an independent aesthetic existence. The thought of traditional Chinese painting is the embodiment and sublimation of national philosophy. The three philosophical concepts of Confucianism, Taoism and Buddhism in ancient China have influenced the values and aesthetic tastes of the ancients. It is this aesthetic interest that promotes the continuous development and perfection of the lines of Chinese painting. Moreover, in traditional Chinese painting, the ideology of Taoism plays a leading role, not only to reveal the surface and deep layers of art, but also to reveal the real and virtual images as well as the external ones. The inner law plays an important role and gives a high interpretation of individual life and cosmic life. At the same time, the influence of Confucianism on traditional Chinese painting cannot be ignored, bringing the goodness and beauty of human nature into Chinese painting. In fact, the sense of form of Chinese painting is the world of life image under the combination of Confucianism and Taoism, and the line of Chinese painting is the basic form of expressing all this. The material medium also provides the most basic conditions for the expression of Chinese painting lines. Under the joint action of brush, ink and rice paper, the line has rich and unusual changes of brush and ink. It is precisely because these material materials are combined with the images of traditional Chinese paintings, The material medium is lifted up to the spiritual level from its unique physical nature. The sense of form of the line also contains the image of the spirit, and the expression of the external line is actually the inner emotion of the objective image, The spirit and idea of traditional Chinese painting are the combination of Confucianism and Taoism. I have to say, line is the soul of Chinese painting. For thousands of years, Chinese painting painters have been studying how to make lines richer and more intension. Has formed a unique set of its own mechanism: integration and differentiation. The emergence of this mechanism is due to the Chinese painting in the face of external changes made debugging, On the one hand, the integration of external factors and the reconciliation of traditional factors. That is, while absorbing and drawing on foreign factors, we should also ensure the stability of the overall system of Chinese painting. This is a great opportunity and challenge for contemporary Chinese painting painters. It must be said that the emergence of this mechanism has provided an inexhaustible impetus for the innovation and development of Chinese painting, and has been integrated and upgraded on the premise of inheriting the good genes of Chinese painting. The development of a series of processes, promote the face of Chinese painting diversified, personalized style.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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