现代中国人物画的造型特点研究

发布时间：2018-04-17 17:40

本文选题：造型 + 写实主义　；参考：《深圳大学》2017年硕士论文

【摘要】：随着时代多元化的发展,封闭性的减弱,文化的革新,各国艺术相互借鉴和融合,不同类型的创作题材与新视角审美观犹如清流,融入到了中国绘画艺术中来,国画人物的造型观在这些问题中悄然的发生变化,不断改善和升华。我国传统国画艺术博大精深,绘画精神与哲学的“天人合一”观念相交融。在人物画的造型描绘上,十分注重客观事物内在“神”和“意”的表达。“意象造型”是传统人物画造型观的发掘,这种不拘泥于人物客观存在形式的展现,巧妙地将个人情感用线条描绘出来,生发于中华民族传统审美观。而20世纪初期,徐悲鸿等艺术家在西方求学的过程中深受启发,将西洋古典写实主义绘画引入到中国来,主张在传统中求新、求变,赋予人物画时代感,将西方艺术精髓为我所用,并建立完整的人物画造型体系,徐悲鸿在提出“素描是一切造型基础”这个重要理论的同时,总结出素描“新七法”,带给中国人物画以崭新视角,并影响了中国美术教育事业几十年和众多艺术家。二十世纪艺术家蒋兆和可谓是继承徐悲鸿绘画思想的典范,对水墨人物画的发展做出了巨大贡献。在坚持传承传统笔墨艺术的同时,从西方绘画艺术中吸取养分,走出水墨人物画新语境,为中国美术教育贡献出一份力量,也为人物画提供了发展契机。受到“徐蒋思想”和时代气息的影响,近几届美展中,国画人物作品都体现出了继承与发展,传统与创新的崭新格局。艺术家们不再局限于笔墨形式为创作主体,而是在继承传统绘画精髓的同时,不断完善,以自然为师,以生活为根本,达到主观与客观完美的结合,呈现出多种国画人物的表现方式。从题材到构图,再从笔墨到造型,画面形式与内涵和谐且不失呆板,既有墨色趣味又将时代气息收入囊中,这种对“新”的展望和对“旧”的追思,适应当代艺术形式与发展方向。
[Abstract]:With the development of diversity of the times, the weakening of closeness, the innovation of culture, the mutual reference and fusion of the art of various countries, the aesthetics of different types of creative subjects and new perspectives are like a clear stream, which has been integrated into the Chinese painting art.In these problems, the modeling view of traditional Chinese painting characters has been changed, and constantly improved and sublimated.Chinese traditional Chinese painting art is extensive and profound, and the spirit of painting blends with the concept of "harmony of nature and man" of philosophy.In figure painting modeling, very much attention to objective things inside the "God" and "will" expression."Image modeling" is the exploration of traditional figure painting modeling view, which is not restricted to the display of characters' objective forms of existence, and skillfully depicts personal emotions with lines, which is born out of the traditional aesthetic standards of the Chinese nation.In the early 20th century, Xu Beihong and other artists were deeply inspired by the process of studying in the West. They introduced Western classical realistic painting to China, and advocated the idea of seeking new ideas, changes, and a contemporary feeling of figure painting in the tradition.The essence of western art is used by me, and a complete modeling system of figure painting is established. Xu Beihong, while putting forward the important theory that "sketch is the foundation of all modeling", sums up the sketch "New Seven methods", which brings Chinese figure painting a new angle of view.And affected the Chinese art education for decades and many artists.Jiang Zhaohe, the artist of the twentieth century, is a model of inheriting the painting thought of Xu Beihong, and has made great contribution to the development of ink figure painting.While inheriting the traditional painting art, we should absorb nutrients from the western painting art, go out of the new context of ink and wash figure painting, contribute to the Chinese art education, but also provide a development opportunity for the figure painting.Influenced by "Xu Jiang's thought" and the atmosphere of the times, the works of Chinese painting figures in recent years have embodied a new pattern of inheritance and development, tradition and innovation.Artists are no longer confined to the form of pen and ink as the main body of creation, but while inheriting the essence of traditional painting, they are constantly improving, taking nature as a teacher, taking life as the foundation, and achieving a perfect combination of subjectivity and objectivity.Show a variety of traditional Chinese painting characters of expression.From subject matter to composition, from pen and ink to styling, the form and connotation of the picture are harmonious and rigid, both the color of ink and the flavor of the times are taken into account. This kind of prospect of "new" and the memory of "old",Adapt to the form and development of contemporary art.
【学位授予单位】：深圳大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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