现当代山水画宿墨法研究

发布时间：2018-07-10 19:23

本文选题：宿墨法 + 现当代山水画　；参考：《扬州大学》2014年硕士论文

【摘要】：本文研究的对象是传统墨法之一的宿墨法,旨在通过分析宿墨法在现当代山水画中的运用,论证其对现当代山水画创作的启示作用。或许宿墨对于很多人来说还是比较陌生,但其实,早在宋代郭熙就提出了“宿墨”的概念,只因宿墨特殊的物理性,将其用于绘画创作中会有渣滓析出,用不好极易枯硬污浊。所以,在古代并没有太多的画家使用,甚至很多理论家在画论中一再提及“宿墨不可用”之说。直到近代黄宾虹将宿墨用于绘画创作,综合各类墨法形成了“浑厚华滋,超凡脱俗”的个人风格和绘画特色。他在1934年撰写的《画法要旨》中首次提出“七墨法”,即为浓墨法、淡墨法、破墨法、泼墨法、积墨法、焦墨法、宿墨法。即便如此,宿墨法还是很少受人关注,针对宿墨法的相关研究也寥寥无几。纵观当代水墨画作品,越来越多的画家有意无意地将宿墨法用于绘画创作,不管是山水、花鸟还是人物画,都可以在画面上清晰看到宿墨法的肌理效果。可见,宿墨法的运用打破了画科的界限,独特的晕染效果是大家广而用之的主要原因,所以笔者认为有必要对宿墨法进行深入研究讨论。本文共分以下几个部分论述：第一部分从宿墨法的定义、起源和运用入手,为宿墨法在中国画中的运用提供理论基础。讨论在不同笔法、纸质以及水色条件下宿墨法的不同形态效果,以便根据水墨效果更好地运用笔法和选择材料。第二部分从题材、笔墨和情感表达三方面解读现当代纯熟运用宿墨法的山水画家代表作品。首先是古今笔墨集大成者黄宾虹,将浓宿墨用到恰好之处,形成苍润浑厚的艺术特色。随后的浙派画家张捷在此基础上,主要以宿墨短线入画,画风显轻淡空灵。后岭南派画家方向则将重彩与宿墨法完美融合,形成响亮而典雅的风格。第三部分重点讨论宿墨法对当代山水画创作的影响和启示,讨论了宿墨法本身的积极意义以及局限性。最后笔者结合自身创作实践,总结自己对宿墨法运用的心得体会以及对当代水墨山水画创作的思考。通过以上论述,表明中国山水画的创新应该从中国画内部元素寻找突破,创造出具有中国当代特色的绘画样式和意境的中国画,具有一定的前沿性和现实意义。
[Abstract]:The object of this paper is one of the traditional ink methods, the purpose of this paper is to analyze the use of the ink method in modern and contemporary landscape painting, and to demonstrate its inspiration to the contemporary landscape painting creation. It may still be unfamiliar to many people, but in fact, as early as the Song Dynasty Guo Xi put forward the concept of "Su Mo", only because of the special physical nature of Su Mo, there will be scum released in painting creation, so it is easy to be hard and dirty if not used well. Therefore, in ancient times, not too many painters used, even many theorists repeatedly mentioned in the painting theory, "Su Mo can not be used." Until the modern Huang Binhong used the ink for painting creation, the combination of all kinds of ink formed the individual style and painting characteristics of "extraordinary and extraordinary". He first put forward the "Seven Mohist Law" in his 1934 masterpiece, that is, the concentrated ink method, the light ink method, the breaking ink method, the ink splashing method, the ink accumulation method, the coke ink method, and the residence ink method. Even so, the motif method is still very little attention, and there is very little research on it. Throughout the contemporary ink painting works, more and more painters consciously or unintentionally use the ink method for painting creation, regardless of landscape, flowers and birds or figure painting, can clearly see on the screen the texture effect of the ink method. Visible, the use of the Mohist method broke the boundaries of painting, the unique effect of dizziness is the main reason for their wide use, so I think it is necessary to conduct in-depth study and discussion of the mothod. This paper is divided into the following parts: the first part from the definition, origin and application of the Mohist method in order to provide a theoretical basis for the application of the Su-Mo method in Chinese painting. This paper discusses the different morphological effects of ink retention under the conditions of different strokes, paper and water color, so as to better use strokes and select materials according to the effect of ink. The second part interprets the representative works of landscape painters from three aspects: theme, ink and emotion expression. The first is the ancient and modern pen and ink master Huang Binhong, will be used in the right place, the formation of Cangrun rich artistic characteristics. Subsequently, Zhejiang School painter Zhang Jie on this basis, mainly to Su Mo short-line painting, painting style light empty. After the Lingnan School of painters will focus on the color and the perfect combination of ink, forming a loud and elegant style. The third part mainly discusses the influence and inspiration of Su-Mo method on contemporary landscape painting creation, and discusses the positive significance and limitation of Su-Mo method itself. Finally, the author combined with his own creative practice, summed up his experience in the use of the ink method and contemporary ink landscape painting creation thinking. Through the above discussion, it shows that the innovation of Chinese landscape painting should find a breakthrough from the internal elements of Chinese painting, and create the Chinese painting with Chinese contemporary characteristics of painting style and artistic conception, which has a certain vanguard and practical significance.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【参考文献】