水墨人物画形式语言演变中的思考

发布时间：2018-04-24 03:21

本文选题：水墨人物画 + 造型艺术　；参考：《内蒙古师范大学》2014年硕士论文

【摘要】：水墨人物画是中国绘画的重要组成部分，为我们留下了宝贵的艺术财富。水墨人物画的发展在历史的长河中经历着兴起、发展、繁荣和衰败。在其发展过程中表现出非常明显的特殊性，如：造型、笔墨等形式语言。这既是非常典范的自身改进，也是时代的巨大飞跃。纵观历史，，我们可以看出，水墨人物以自己独特的审美取向成为众多专家学者研究的目标，而形式语言的创新则成为了水墨人物画发展的内在生命力。本文分为四章。第一章对传统水墨人物画的形式语言进行梳理，从中国传统水墨人物画产生的历史背景以及自身发展的规律入手进行探究和分析，结合古代人物画名家的代表作品阐释传统水墨人物画所依托的哲学思想、造型特征，笔墨特征等形式语言的阶段性特点。第二章，从影响水墨人物画形式语言转变的因素作为切入点，以历史发展的角度重点分析了西方绘画观念对我国传统绘画理论、造型方式的巨大影响。使水墨人物画传统哲学理论下的“意象造型”法则与西方科学化绘画法则下的“写实造型”相结合的造型方式成为水墨人物画进一步发展的必然。第三章，重点分析了现代中国水墨人物画形式语言的观念更新与主题转向的诸多因素。首先要深入理解当代水墨人物画造型的内在精神。在笔墨形式，造型方法两者之间寻找适当的融合点。在水墨人物画创作中，吸纳西方写实主义绘画思想，同时继承和发展我国传统意义上的意象主义造型方式，这样才能保持水墨人物画自身特色。其次要科学合理的处理好笔墨与造型的关系。协调两者的关系成为水墨人物画发展的关键问题。再次，坚持在创新中传承。随着水墨人物画的发展，写实性水墨人物画已不能满足大众的审美需求，从而画家们将目光转向西方现代绘画。在绘画作品中，画家更加注重于对人物内在精神的把握和画作的整体意境的体现。第四章，通过对成功转型画家在水墨形式语言方面探索的研究发现，情感因素、以及画面构成因素等形式语言的把握得到了广泛的重视，同时提出了一些具有重要理论价值和实践意义的观点，为推动我国水墨人物画的发展做出了巨大贡献。本章还结合了自己在水墨人物画创作过程中所积累的一些不成熟的经验，希望在不断的探索中，能够为水墨人物画的发展做出贡献。希望通过对我国水墨人物画形式语言的演变的研究，掌握其内在、外在的发展规律，对水墨人物画形式语言的发展趋势做出的正确估测，并提出合理性建议。
[Abstract]:Chinese ink figure painting is an important part of Chinese painting, leaving us valuable artistic wealth. The development of ink figure painting has experienced the rise, development, prosperity and decline in the long river of history. In its development process shows very obvious particularity, such as: modeling, pen and ink and other formal languages. This is both a very exemplary self-improvement, but also a great leap forward of the times. Throughout history, we can see that the characters with their own unique aesthetic orientation has become the goal of many experts and scholars, and the innovation of formal language has become the inherent vitality of the development of ink figure painting. This paper is divided into four chapters. The first chapter combs the formal language of traditional Chinese ink figure painting, from the historical background of Chinese traditional ink figure painting and the law of its own development to explore and analyze. Combined with the representative works of the ancient figure painting masters, this paper explains the stage characteristics of the form language such as the philosophical thought, the shape characteristic, the brush and ink characteristic and so on which the traditional ink figure painting relies on. In the second chapter, from the perspective of historical development, this paper analyzes the great influence of western painting concepts on Chinese traditional painting theory and modeling methods from the perspective of historical development. It is inevitable for the further development of the ink figure painting to combine the "image modeling" rule under the traditional philosophical theory of ink figure painting with the "realistic modeling" under the western scientific painting law. In the third chapter, the author analyzes the concept renewal and theme change of modern Chinese ink figure painting. First of all, we should deeply understand the inner spirit of contemporary ink figure painting. In the form of ink and pen, modeling method between the two to find the appropriate fusion point. In the ink figure painting creation, absorb the western realistic painting thought, at the same time inherit and develop the imagism modelling way in our country traditional sense, so as to keep the characteristic of the ink figure painting itself. Secondly, we should deal with the relationship between pen and ink and shape scientifically and reasonably. To coordinate the relationship between the two becomes the key issue of the development of ink figure painting. Thirdly, we insist on inheriting in innovation. With the development of ink figure painting, realistic ink figure painting can not meet the aesthetic needs of the public, so the painters turn their attention to modern western painting. In painting, painters pay more attention to the inner spirit of the characters and the overall artistic conception of the paintings. The fourth chapter, through the successful transformation painter in the ink form language aspect research discovery, the emotion factor, as well as the picture composition factor and so on form language grasps has obtained the widespread attention. At the same time, some important theoretical and practical views are put forward, which make great contribution to the development of Chinese ink figure painting. This chapter also combines their own in the ink figure painting creation process accumulated some immature experience, hoping that in the continuous exploration, can contribute to the development of ink figure painting. It is hoped that through the study of the evolution of the formal language of Chinese ink figure painting, we can master its internal and external development rules, make a correct estimate of the development trend of the form language of ink figure painting, and put forward some reasonable suggestions.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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