郭全忠人物画风格及艺术创作道路探究

发布时间：2018-04-01 23:23

本文选题：艺术风格　切入点：苦涩　出处：《山东建筑大学》2013年硕士论文

【摘要】：元明清以来,中国画的笔墨在山水画和花鸟画中得到了充分发展,在日趋衰败的人物画中只有相对简单的应用。著名的“十八描”只是线法,且只适用于古代衣冠,局限性显而易见。近百年来,中国人物画因借鉴西画造型方法而得到突破性的进展,但它始终没有解决好造型与笔墨的矛盾。通常的情况是,一些人有素描根底和造型能力,但缺乏笔墨修养与能力,他们可以对人物的外形和表情进行深入刻画,但他们的笔墨大抵只是造型的工具,缺乏相对独立的意义。徐悲鸿、蒋兆和及他们的追随者大抵如此,这与徐悲鸿学派重造型而轻笔墨的教学观念和体制有关。另一些人相对重视笔墨,他们在强调借素描解决造型能力的同时,也强调继承笔墨传统,并在人物创作中适当吸取写意花鸟画的笔墨方法,赋予他们的新人物画以活泼灵动的笔墨意趣。但他们在满足于这种灵动笔墨的同时,却没有在人物刻画上求得突破与深化,新浙派画家方增先、李震坚、周昌谷以及他们的追随者大抵如此。另有一些以速写、连环画、年画为基础的画家如叶浅予、黄胄、程十发等,大体以勾勒为主要手段,虽自成一体,却很难在塑造形象和笔墨表现这两方面有很大的超越。新时期以来,画家们淡化了政治意识和派别意识,画法风格上相互融会并很快趋于多样化、个性化——写实性作品逐渐减少,表现性倾向大大抬头,笔墨或受到器重,或受到轻蔑,有的回到重形式趣味轻形象刻画的老路,有的转向追求形式或观念的新途,还有的把形式风格的选择系于打造品牌的努力。但不论哪一倾向的画家,一旦得到市场认可,就大都慎言变革,坚守风格化的城堡了。而郭全忠在其中国人物画创作道路上借古开今、勇于创新和突破,形成了自己独特的绘画语言与程式。本文结合郭全忠各阶段的代表作品研究其绘画历程及转变进而拓展到整个中国画创作上。艺术家的艺术创作必须深深根植于自己的民族文化之中,植于自己的心灵深处,植于自己所处的时代。同时,尝试将研究成果应用到毕业创作中去。具体来讲,在毕业创作中借助中国画艺术表现的自由度,并吸收西方现代思维或吸收民间朴拙而强烈的艺术手法,或者借鉴平面构成的某些元素进行探索与实践。
[Abstract]:Since the Yuan, Ming and Qing dynasties, the brush and ink of Chinese painting has been fully developed in landscape painting and flower and bird painting, and it has only relatively simple application in the declining figure painting.The famous "Eighteen Sketch" is only a line method, and only applies to ancient clothes and crown, the limitation is obvious.In the last hundred years, Chinese figure painting has made a breakthrough in drawing on the modeling method of Western painting, but it has never solved the contradiction between styling and ink.As is often the case, some people have the ability to sketch and shape, but they lack the cultivation and ability to write and write. They can deeply depict the shape and expression of the character, but their pen and ink are mostly just tools for modeling.Lack of relative independence.Xu Beihong, Jiang Zhaohe, and their followers probably do so, which is related to the teaching concept and system of Xu Beihong school which emphasizes the style rather than the ink.Other people attach relative importance to ink and stroke. They emphasize the ability to solve the problem by drawing sketches, and at the same time, they emphasize inheriting the tradition of painting and drawing the brushstroke method of freehand brushwork and bird painting in the creation of characters.Give their new figure painting with lively brushwork interest.But while they were satisfied with this kind of ingenuity, they did not break through and deepen the depiction of characters, such as Fang Zengxian, Li Zhenjian, Zhou Changgu and their followers of the Neo-Zhejiang School of painters Fang Zengxian, Li Zhenjian, Zhou Changgu and their followers.Some other painters based on sketches, comic books, and New year paintings, such as Ye Qianyu, Huang Zhou, Cheng Shifa, and so on, generally take sketching as the main means. Although they are self-made, it is very difficult to have a great transcendence in shaping the image and the performance of pen and ink.Since the new era, painters have played down their political consciousness and factional consciousness, and their painting styles have converged with each other and tended to diversify quickly. Individualized and realistic works have gradually decreased, and the tendency of expressiveness has risen greatly, and the pen and ink have been regarded with great respect.Or be scornful, some return to the old way of emphasis on formal taste and image portrayal, some turn to the pursuit of form or concept of a new way, there is a choice of formal style tied to the efforts to create a brand.But no matter what the tendency of painters, once recognized by the market, most of the words of change, adhere to stylized castle.Guo Quanzhong opened the way of his Chinese figure painting to the ancient times and made innovations and breakthroughs, forming his own unique painting language and program.Based on the representative works of Guo Quanzhong in various stages, this paper studies his painting process and its transformation and extends to the whole creation of Chinese painting.The artist's artistic creation must be deeply rooted in his own national culture, in his own heart, in his own time.At the same time, try to apply the research results to graduation creation.Specifically speaking, in graduation creation with the help of the freedom of expression of Chinese painting art, and absorb the western modern thinking or absorb folk simple and strong artistic techniques, or learn from some elements of the plane to explore and practice.
【学位授予单位】：山东建筑大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】