论作品《云水之间》“以意驭形”创作观念的表达

发布时间：2018-03-22 07:26

本文选题：山水　切入点：写真　出处：《广州大学》2013年硕士论文　论文类型：学位论文

【摘要】：本文基于传统中国山水画的绘画表现风格基础之上，从中国山水画表现方法的发展和转变，到中国山水画写意化道路的意义进行研究与分析，目的在于探讨中国山水画创作的真谛。其中尤其对写真与写意两种表现方法进行了全新认识和深度思考，并且通过自己的创作作了实践性的探索。最后一章详细阐述对于毕业作品的构思、架构与生成的过程，在创作过程中结合以上的理论研究对创作绘画系列作品《云水之间》进行大量的尝试。总结出了艺术创作手法寄写实造型于写意创作中，即“以意驭形”的具体观点。研究中将通过中国古代大家的山水画中对自然之真实的表现，探究中国山水画创作中“写真”观念的提出与深化，阐述中国山水画创作中独特写真观的形成过程，剖析其深具中国文化特色的精神实质和对后世中国山水画创作的影响。而中国山水画写意化的意义则通过对写意化内涵的剖析，点出写意化的关键则是“意”在虚实之间，最后通过对传统意象风格的反思，说明了中国山水画在写意化上的具体体现。最后文中通过升华自然山水之神直指想要创作出好的艺术作品必须达到“天人合一”的境界，并通过对白石老人之名言：“作画妙在似与不似之间”的分析，，点出中国画之真谛，并运用到自己的创作之中，从而提出自己“以意驭形”的创作观念。立此论题旨在对自己国画创作过程中产生的对中国山水画创作如何表现这一问题进行理论的思考与总结。主要阐述的内容则是对中国山水画中的“写实”与“写意”这两种主要的传统表现手法进行系统的理论分析，并提出自己“以意驭形”的创作观点与感受。
[Abstract]:Based on the traditional Chinese landscape painting performance style, from the development and transformation of the Chinese landscape painting expression method, to the Chinese landscape painting freehand brushwork of the significance of the study and analysis, The purpose is to probe into the true meaning of Chinese landscape painting creation. And through their own creation to make a practical exploration. The last chapter elaborated on the graduation work of the concept, structure and generation process, In the process of creation, combining the above theoretical research, a large number of attempts have been made to create a series of paintings, "between clouds and waters", and the concrete viewpoint of sending realistic modeling in freehand brushwork, that is, "controlling the shape by freewill", has been summed up. In the study, through the real expression of nature in the landscape painting of ancient China, the author will probe into the raising and deepening of the concept of "portrait" in the creation of Chinese landscape painting, and expound the forming process of the unique view of realistic painting in the creation of Chinese landscape painting. This paper analyzes its spiritual essence with Chinese cultural characteristics and its influence on the creation of Chinese landscape painting in later generations. By analyzing the connotation of freehand brushwork of Chinese landscape painting, it points out that the key point of freehand brushwork is that the meaning of freehand brushwork is between vanity and reality. Finally, through the reflection of the traditional image style, it explains the concrete embodiment of Chinese landscape painting in freehand brushwork. Finally, through the sublimation of the god of natural mountains and rivers, the author points out that in order to create good works of art, he must achieve the state of "harmony of nature and man", and through the analysis of the famous saying of the old man of Baishi: "the painting is wonderful between likeness and non-likeness". This paper points out the true meaning of Chinese painting, and applies it to his own creation, thus putting forward his creative concept of "controlling form with intention". The purpose of this thesis is to make a theoretical reflection and summary on how to express the Chinese landscape painting in the process of Chinese traditional painting creation. The main content of this thesis is "realistic" and "realistic" in Chinese landscape painting. Freehand brushwork "these two main traditional expression methods carry on systematic theory analysis, At the same time, the author puts forward his own creative viewpoint and feeling of "controlling form with intention".
【学位授予单位】：广州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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