浅谈写意人物画的造型与笔墨

发布时间：2018-04-23 11:29

本文选题：造型 + 笔墨　；参考：《陕西师范大学》2013年硕士论文

【摘要】：随着中国文化在全世界的影响力与日俱增,中国绘画也开始得到世人越来越多的关注。中国写意画经历了从辉煌到没落再到兴盛的三个阶段,当下我们正处于时代的兴盛期,是一个方兴未艾,大有前途的发展机遇期,但是在这一时期的写意人物画理论研究和实践创作中都产生了一些问题,最重要的就是笔墨与造型之争,理论界人士与众多著名画家在这一问题上展开了激烈的争辩,二十世纪中国画的发展几乎都是伴随这一话题展开的。不解决笔墨与造型两者之间的关系就直接影响着写意人物画的发展。理论指导实践,我们之所以要解决好造型与笔墨的关系,正是因为二者都是写意人物画不可缺少的因素。只有理清二者的关系才能让我们真正的理解写意人物画的精髓所在。通过对笔墨与造型的实践探索,我们可以看出二者看似存在矛盾,但又是相互依存的,如何将二者有条理性的结合在一起,融入在整个画面中,就是我们应该解决的问题。我们不必争论二者孰高孰低,孰优孰劣,因为脱离了画面,二者本无可比性,因此我们必须在绘画实践的过程中,不断地深入研究笔墨与造型这两种手段,理清二者的关系,从而为时代创作出更多更好的作品。论文一共分为五个部分。第1章,为论文的引言部分,阐述了现今写意人物画的概况以及本文的研究背景、目的、方法和意义,并提出本研究应该深入探讨的问题。第2章,通过对笔墨的由来、方式展开讨论,强调笔墨的独特审美情趣,进一步强化了审美意境的意义。第3章,通过对造型的研究,并与西方的造型艺术有机的结合起来,从而使写意人物画能够更准确的,更细致入微的刻画客观现实,带给人们更加震撼的艺术效果。第4章,更加进一步的说明了艺术结合的重要性,通过对造型与笔墨运用、发展以及展望,更好地阐述了现今写意人物画需要解决的问题与发展方向。第5章,笔墨与造型的结合在实际创作中的运用。
[Abstract]:With the increasing influence of Chinese culture in the world, Chinese painting is getting more and more attention. Chinese freehand brushwork has experienced three stages, from glory to decline and then to prosperity. At present, we are in the boom period of the times, which is a period of development opportunities that are in the ascendant and have great prospects. However, in the theoretical research and practical creation of freehand figure painting in this period, there have been some problems, the most important is the dispute between ink and stroke and modeling, the theorists and many famous painters have launched a fierce debate on this issue. The development of Chinese painting in the 20 th century is almost accompanied by this topic. The development of freehand figure painting is directly influenced by the relationship between brushwork and styling. The reason why we should solve the relationship between styling and ink is that both of them are indispensable factors of freehand figure painting. Only by clarifying the relationship between the two can we really understand the essence of freehand brushwork. Through the practical exploration of pen and ink and modeling, we can see that there seems to be a contradiction between them, but they are interdependent. How to integrate them in the whole picture is the problem we should solve. We do not have to argue which is the highest or which is the best or which is the worse, because we are divorced from the picture and there is no comparability between the two. Therefore, in the course of painting practice, we must constantly and deeply study the two methods of pen and ink and shape, so as to clarify the relationship between the two. In order to create more and better works for the times. The thesis is divided into five parts. The first chapter is the introduction part of the paper, elaborated the present freehand brushwork figure painting general situation and the research background, the goal, the method and the significance, and proposed this research the question which should discuss deeply. The second chapter, through the origin of ink, the way of discussion, emphasizing the unique aesthetic taste of ink, further strengthen the meaning of aesthetic conception. The third chapter, through the research of modeling, and the combination of western plastic arts, so that freehand figure painting can be more accurate, more meticulous portrayal of objective reality, bring people more shocking artistic effect. The fourth chapter, further explained the importance of the combination of art, through the modeling and brush and ink use, development and prospects, a better description of the present freehand figure painting needs to solve the problems and development direction. The fifth chapter, the combination of ink and pen in the actual creation of the application.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】