水墨人物画的现（当）代性问题研究

发布时间：2018-03-24 11:32

本文选题：水墨人物画　切入点：水墨性　出处：《中国艺术研究院》2013年博士论文

【摘要】：本文采取文献研究、图像学分析以及艺术社会学的方法,通过对传统水墨人物画和1900年后的现代水墨人物画的分析梳理,整理并分析现当代水墨人物画纷繁复杂的发展情况以及水墨人物画未来面对的诸多问题。为此,本文把中国水墨人物画划分为三个阶段,即古典阶段、现代阶段和当代阶段。同时,本文将水墨人物画概念整合为“水墨性的人物主题绘画”,其中提出了两种互相矛盾的“水墨性”的概念：一个是传统内涵的水墨性,一个是现当代要求溢出传统的水墨性。从这个切入点出发,考察水墨性在不同时期的形态体现和变化,以期显明各个时代水墨人物画的不同形式和内涵的实质,从而把握中国水墨人物画的发展脉络。第一,古典阶段水墨人物画的水墨性来源于中国传统儒道思想合流,而偏重于道家出世的精神,古典阶段水墨人物画是一个文化内涵和艺术形式历史巨大连续体,同时也体现为一个封闭的审美系统,这个审美系统是中国传统文化核心——儒道思想影响下的中国传统艺术文脉的体现。第二,现代阶段的水墨人物画是新民主主义革命的思想影响下的成果。现代阶段水墨人物画针对的是,古典阶段全部人物画的审美价值观和艺术指向,要建立一种全新的水墨人物画形式和内涵,希图开辟新的中国人物画美学。在水墨性表现上,现代阶段水墨人物画试图重新创造一种前所未有的崭新的新世代水墨性。第三,1980年以来水墨人物画作为当代水墨人物画阶段,相对于古典和现代时段。与前两个阶段不同,当代阶段的水墨人物画的形态是个异多元的。在水墨性上,一方面对传统水墨语言进行自由撷取,一方面对其他画种或艺术形式采取目的性的融合吸收。这是一种艺术衍异的情况,是寻求与传统形态及其改造与重建的相平行的可能方式。当代阶段水墨人物画实践,就是在古典阶段传统文脉的水墨性和现代重构的水墨性对立胶着状态中寻求一个突破口——从对人自身各个层面的关怀出发,寻求一种再超越的水墨性。同时,这也体现为一种全球化时代的对当代中国人文精神的寻求。本文最后指出,1980年以来水墨人物画实践,在对人文精神的不懈的探索和追求上超越了古典和现代阶段的水墨人物画,成为中国画在新时代积极开拓发展的主力之一；而当代中国人文精神在艺术上的建设与挖掘,其重任也需要新时期中国水墨人物画长久地承载担当。
[Abstract]:This paper adopts the methods of literature research, image analysis and art sociology, through the analysis of traditional ink figure painting and modern ink figure painting after 1900. Sorting out and analyzing the complex development situation of modern and contemporary ink figure painting and many problems in the future. Therefore, this paper divides Chinese ink figure painting into three stages: classical stage, modern stage and contemporary stage. In this paper, the concept of wash figure painting is integrated into "character theme painting of ink painting", in which two kinds of contradictory concepts of "ink painting" are put forward: one is the traditional nature of ink painting, One is the modern and contemporary requirement of overflow of traditional ink and ink. From this point of view, the paper examines the forms and changes of ink painting in different periods, in order to show the essence of different forms and connotations of ink figure painting in different times. In order to grasp the development context of Chinese ink figure painting. First, the ink nature of Chinese ink figure painting originates from the confluence of Chinese traditional Confucianism and Taoism, while the emphasis is on the spirit of the birth of Taoism. In the classical stage, the ink figure painting is a huge continuum of cultural connotation and artistic form, and it is also reflected in a closed aesthetic system. This aesthetic system is the embodiment of the context of Chinese traditional art under the influence of Confucianism and Taoism, the core of Chinese traditional culture. Second, The modern stage of water and ink figure painting is the result of the thought of the new democratic revolution. The modern stage is aimed at the aesthetic values and artistic direction of all the figure paintings in the classical stage. In order to establish a new form and connotation of Chinese figure painting, we hope to open up a new aesthetics of Chinese figure painting. The modern stage of ink figure painting attempts to create an unprecedented new generation of ink painting. Third, as a stage of contemporary ink figure painting since 1980, compared with the classical and modern periods, it is different from the first two stages. In the aspect of ink painting, on the one hand, the traditional ink language can be extracted freely. On the one hand, the integration and absorption of other painting types or art forms is purposeful. This is a case of artistic differentiation, and a possible way to seek parallels with traditional forms and their transformation and reconstruction. Is to seek a breakthrough in the classical stage of the traditional context of ink painting and the modern reconstruction of the ink nature opposites-from the concern for human beings at all levels, to seek a kind of beyond the ink. At the same time, This is also reflected in the search for the humanistic spirit of contemporary China in the era of globalization. Finally, this paper points out that the practice of ink and wash figure painting since 1980 has surpassed the classical and modern stage of water and ink figure painting in its unremitting exploration and pursuit of humanistic spirit. Chinese painting in the new era of active development of one of the main force, and contemporary Chinese humanistic spirit in the art construction and excavation, its heavy responsibility also needs to bear the burden of the new era of Chinese ink figure painting for a long time.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J212

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