中国画写生中的意象性追求

发布时间：2018-03-28 10:51

本文选题：意象　切入点：意象造型审美法则　出处：《河北师范大学》2013年硕士论文

【摘要】：中国绘画艺术历史悠久，源远流长。中国绘画艺术根植于民族文化土壤之中，构建形成了一个博大精深的体系。凭借独特的意象造型审美法则屹立于世界艺术之林。在写生中追求意象造型的传统更是从古至今延续着。无论中西方任何绘画形式，都在这方面有所体现。然而绘画这种艺术形式，作为人类精神文明的产物，以画家个体的认识为前提，就会在继承传统的过程中遇见各种各样的问题。因此，重拾作品的意象性对于艺术作品价值的形成具有很重要的作用以及深远的意义。本文对中国传统绘画中意象性独特造型审美进行研究，探讨意象性与写生的关系，以及意象性在写生中的重要表现，从而对中国当下的写生创作提出一些见解。第一章通过对中国古代哲学、画论中意象性的历史渊源的追溯与梳理，系统阐述了意象性的定义，从而引出意象性审美法则对于艺术作品的重要性。第二章通过列举中国两幅经典作品论证意象性与写生的关系，从而回归本文主旨在写生中的意象性追求。第三章从中、西代表画家的作品入手进行分析和研究，，对意象性审美法则在写生中的运用做出客观的评价。从而证实写生与意象性的关系是相互渗透，共同促进的。第四章阐释中国画历史发展上存在的两种学习方法的不同效果并做出客观评价及并对当下社会环境对待写生中意象性追求的看法、现象。从而重拾中国画写生的意象性追求迫在眉睫。第五章提出在写生中体现意象性的训练方法。
[Abstract]:Chinese painting art has a long history and has a long history. Chinese painting art is rooted in the soil of national culture. By virtue of its unique aesthetic principles of image modeling, it stands in the forest of art in the world. The tradition of pursuing image modeling in sketching has continued from ancient times to the present. No matter any painting form in China or the West, However, as a product of human spiritual civilization, the art form of painting, based on the understanding of the individual artist, will encounter various problems in the process of inheriting the tradition. Regaining the image of the works plays an important role in the formation of the value of the works of art. In this paper, the author studies the unique aesthetic of imagism in Chinese traditional painting, discusses the relationship between imagism and sketching, and the important performance of imagism in sketch, and then puts forward some opinions on the contemporary sketch creation in China. The first chapter systematically expounds the definition of imagism through tracing and combing the historical origin of imagism in ancient Chinese philosophy and painting theory, which leads to the importance of the aesthetic rule of imagism to the works of art. The second chapter demonstrates the relationship between imagism and sketch by enumerating the two classical works of China, so as to return to the image pursuit of the main purpose of this paper. In the third chapter, the author analyzes and studies the works of the western representative painters, and makes an objective evaluation of the application of the image-aesthetic law in the painting, which proves that the relationship between sketching and imagism permeates and promotes each other. The fourth chapter explains the different effects of the two learning methods in the historical development of Chinese painting, and makes an objective evaluation and views on the image pursuit in the current social environment. Therefore, it is urgent to rediscover the image pursuit of Chinese painting. The fifth chapter puts forward the training method to reflect the image in the sketch.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】