焦墨艺术中的当代审美表现

发布时间：2018-05-03 00:21

本文选题：焦墨艺术 + 焦墨　；参考：《四川师范大学》2013年硕士论文

【摘要】：已有数千年发展历史的中国画,无论在表现手法和审美形式上都已取得了很高的艺术成就。毋庸置疑,业已成熟和繁荣的中国画仍然需要多种新的表现形式。为了创新的需要,一些艺术家于是在笔墨形式上探究中国画的新出路。焦墨艺术,由于在审美形态上呈现出另一种极致而倍受青睐。焦墨又称渴笔焦墨,其源头可以追溯到唐代以前。遗憾的是,唐代及此前的画家注重用笔,而忽略用墨。他们所画的山水,至多以焦墨勾勒轮廓,然后用焦墨皴擦几笔。到了北宋,虽然水墨有了浓淡的变化,但相比后人在生宣上那种水墨淋漓的丰富变化仍然逊色不少。元代是画家最重视笔墨的时期,但他们多用淡墨渴笔。名家们有时也会用焦墨作画。譬如王蒙的焦墨画,既营造出深秀、繁密,又体现了苍茫的审美意趣,艺术成就极高。明清时期,程邃等画家虽然经常采用枯笔渴墨绘画,但他们的焦墨画同样表现出苍茫而秀润的审美意境,后世对他的焦墨评价很高。然而,焦墨法能最终独立为一种绘画语言形式,则是在20世纪的中国画的变革中。黄宾虹和张仃传承和丰富了它的艺术表现力。本论文正文部分分为四章,前三章从焦墨的溯源和现状出发,在对焦墨艺术审美表现作简述的基础上,试图厘清其在历代中国画发展中所具有的独特审美和地位;然后,结合具体的焦墨画家及其作品,尝试分析焦墨画对当时画坛的影响；第四章节结合本人研究生阶段焦墨创作的实践,通过分析前辈们对我个人焦墨作品的指导意义,提出了自己的创作观念。通过对焦墨艺术的审美研究,对焦墨在技法和表现形式的多样化上提出了个人的浅见。我们在研究前人的焦墨画的基础上,应当着意把握其时代特征,结合自身性格特质、文化涵养和个性特点,力争创作出有一定审美趣味的焦墨作品。本论文一方面着力探讨了古代美术史上鲜有画家画焦墨这一现象。焦墨作为传统的中国画技法,很少被人关注,犹如现在很少被人提及的黑白照片；另一方面,本文对现当代焦墨作了较简略的分析与研究。现今焦墨画因单纯运用墨色以表现画面的层次感和空问感,被认为是形式美在表现局限上的开拓。这是需要在焦墨艺术的实践中进一步创新的。焦墨既能表现出水墨的苍润,又能融合书法的金石笔法。我认为有必要让焦墨黑白的本色美、单纯美、形式美、风骨美、拙重美、肃穆美成为中国画审美形式中不可或缺的视觉效果。鉴于目前国内有关焦墨研究和焦墨画家的研究相对较少,本文着墨于此,寄希望于带动更多的人关注和了解焦墨艺术,进而尝试创作焦墨画。
[Abstract]:Chinese painting, which has been developed for thousands of years, has made great achievements in both expression and aesthetic form. There is no doubt that the mature and prosperous Chinese painting still needs a variety of new forms of expression. In order to innovate, some artists in the form of ink and pen to explore a new way out of Chinese painting. Jiao Mo art, because of the aesthetic appearance of another kind of extreme and favored. Jiao Mo also known as craving pen Jiao ink, its source can be traced back to the Tang Dynasty. Unfortunately, the Tang Dynasty and the previous painters pay attention to the use of pen, and ignore the use of ink. They painted the landscape, at most with coke ink outline, and then with chapped brush a few strokes. To the Northern Song Dynasty, although the ink has a thick and light changes, but compared with later generations on the kind of wash ink dripping rich changes are still a lot less. The Yuan Dynasty was the period in which painters paid most attention to ink, but they often used light ink to crave pen. Famous artists sometimes paint with coke ink. For example, Wang Meng's Jiao ink painting, not only creates a deep, dense, but also reflects the boundless aesthetic interest, artistic achievement is extremely high. In the Ming and Qing dynasties, although Cheng Yong and other painters often used dry pen and thirst for ink painting, their Jiao ink paintings also showed a boundless and elegant aesthetic mood, and his Jiao ink was highly valued by later generations. However, Jiao-Mo method can become a kind of painting language form independently, it is in the change of Chinese painting in the 20 ~ (th) century. Huang Binhong and Zhang Ding inherited and enriched its artistic expressiveness. The main body of this thesis is divided into four chapters, the first three chapters proceed from the origin and current situation of Jiao Mo, on the basis of brief description of Jiao Mo art aesthetic performance, try to clarify its unique aesthetic and position in the development of Chinese painting in the past dynasties; then, Combined with specific Jiao ink painters and their works, try to analyze the impact of Jiao ink painting on the painting world at that time. Chapter four, combining with the practice of Jiao ink creation in my graduate school stage, through analyzing the guiding significance of my predecessors to my personal Jiao ink works, Put forward own creation idea. Through the aesthetic research of Jiao Mo art, the author puts forward his personal views on the diversification of his techniques and forms of expression. On the basis of studying the previous Jiao ink paintings, we should grasp the characteristics of their times, combine their own character, culture preservation and personality characteristics, and strive to create a certain aesthetic taste of Jiao Mo works. On the one hand, this paper probes into the phenomenon that there are few painters in the history of ancient art. As a traditional Chinese painting technique, Jiao Mo is seldom paid attention to, as if it is rarely mentioned in black and white photos. On the other hand, this paper makes a brief analysis and research on modern and contemporary coke ink. Nowadays, Jiao ink painting is regarded as the development of formal beauty in its performance limitation because of its pure use of ink color to express the sense of hierarchy and the sense of space. This needs to be further innovated in the practice of Jiao Mo art. Jiao ink can not only show the color of ink, but also blend the gold and stone strokes of calligraphy. I think it is necessary to let Jiao Mo black and white beauty, pure beauty, form beauty, style beauty, heavy beauty, solemn beauty become an indispensable visual effect in the aesthetic form of Chinese painting. In view of the relatively few domestic research on Jiao ink and Jiao ink painters, this paper focuses on this, hoping to lead more people to pay attention to and understand Jiao ink art, and then try to create Jiao ink painting.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】