试论中国水墨画的空间处理

发布时间：2018-07-15 09:28

【摘要】：中国水墨画的空间处理一直是画家们探究的问题。因为它直接关系到作品中意境的表达。我们在品读画作时最先映入眼帘的就是画面的空间布局。空间布局的成败直接关系到水墨画的整体优劣。就如同我们在下围棋的布局一样，“一着不慎满盘皆输”。《山静居画论》中说：“作画起首布局，却似博弈。虽势生机，随机应变”。巧妙的布局不仅可以让画面变得精彩绝伦，也能掩饰画面的不足之处。水墨画空间布局的处理可以让欣赏者直接感受到所要表达的意境主旨，让中心明确，主题突出。唐代张彦远曾指出：“至于经营位置，则画之总要。”明代李日华也曾说：“大都画法以布置意象为第一”。所以空间布局是构成绘画艺术作品生命力和表现力的基础条件，是画家修养和艺术造诣的体现，也是画家风格的重要组成部分。可见空间处理对于我们在绘画创作中是占据着举足轻重的位置。中国水墨画在近千年的演变中对于空间上的处理历来有着其独特之处。它的独特源自于中国特有的文化底蕴及绘画材质（毛笔，宣纸，水墨等）。使画面空间充满了感性、灵活、多变的因素，所以它对于空间的处理方法是相对自由的、多元的、主观的。它是用心灵俯仰的眼睛来观看世间万物的。水墨空间是一个极其玄妙的世界，它可以把人们带入一个不可知的世界。对画家而言它亦是极具挑战性的，因为它的表现手法我们最多只能掌控80%，而另外的20%则是水、墨、色、意在交融中自然形成的。而正是这种不确定性，让我们对水墨世界充满好奇。它的空间构成是多方面的。本文主要从中国传统文化入手，以水墨画客观和主观的表现手法、设色、诗词题跋、意境表现及自我修养等方面来探究水墨画的空间处理。其中亦有着本人对于水墨空间处理的一些体悟。随着时代的发展与进步，中西文化在不同程度上的碰撞、融合，让水墨画的空间表现形式更加的多元化。水墨画的空间处理加入了西洋画空间处理的手段，由二维空间的主观表现，逐步变成了更加注重三维空间的光影体面的变化。使中国水墨画对于客观事物的表现更加丰富，但同时也面临着中国传统水墨元素的流失，让水墨画的味道变质。如何在二者之间进行取舍，如何“西为中用”就要看画家自身的休养与选择了。研究本课题的意义就是在于能够更深刻的、多层面的认识了解水墨画中的空间处理，，解决一些我们在绘画中常常出现的空间布局的问题——脏乱、僵硬、呆板等。只有客观全面的去了解水墨空间，才能使我们在绘画中对画面的整体空间把握与认知得到质的升华，更有利于水墨画的鉴赏与创作。
[Abstract]:The space processing of Chinese ink painting is always the problem that painters explore. Because it is directly related to the expression of artistic conception in the works. The first thing we see when we read a painting is the spatial layout of the picture. The success or failure of space layout is directly related to the overall merits and demerits of ink painting. Just as in the layout of the game of go, "we lose everything by mistake". "painting at the beginning of painting is like a game," says the painting Theory of Shan Jingju. In spite of the vitality of the potential, adapt to the situation. " Clever layout can not only make the picture magnificent, but also mask the shortcomings of the picture. The spatial layout of ink and wash painting can make the viewer feel the main idea of artistic conception directly, so that the center is clear and the theme is prominent. Zhang Yanyuan pointed out in Tang Dynasty: "as for the position of management, the painting is always important." Ming Dynasty Li Rihua also said: "most painting with the layout of the image as the first." Therefore, the spatial layout is the basic condition of the vitality and expressiveness of the painting art works, the embodiment of the artist's accomplishment and artistic attainments, and the important component of the painter's style. Visible space processing for us in painting is occupying a pivotal position. Chinese ink painting has always had its unique features in the evolution of space in the last thousand years. Its unique origin from the unique Chinese culture and painting materials (brush, rice paper, ink, etc.). The picture space is filled with perceptual, flexible and changeable factors, so its handling of space is relatively free, pluralistic and subjective. It looks at all things with the eyes of the heart. Ink space is an extremely mysterious world, it can bring people into an unknown world. It's also very challenging for painters, because we can only control 80 percent of the way it works, and the other 20 percent is water, ink, and color, designed to blend naturally. And it is this uncertainty that makes us curious about the world of ink and water. Its spatial composition is multifaceted. This article mainly from the Chinese traditional culture, with the ink painting objective and subjective expression techniques, color, poetry and postscript, artistic conception and self-cultivation to explore the space processing of ink painting. Among them also has my for the ink space processing some understanding. With the development and progress of the times, Chinese and Western cultures collide and merge to different degrees, making the space expression form of ink painting more diversified. The space processing of ink and wash painting joined the means of space processing of western painting, and gradually changed from the subjective expression of two-dimensional space to the decent change of light and shadow paying more attention to three-dimensional space. Chinese ink painting for the performance of objective things more rich, but also faced with the loss of traditional Chinese ink elements, let the flavor of ink painting deterioration. How to choose and choose between the two, how to use the west as a medium, depends on the painter's own recuperation and choice. The significance of this research is to understand the spatial processing of ink painting in a more profound, multi-level way, and to solve the problems of spatial layout that often occur in painting-messy, stiff, rigid, etc. Only an objective and comprehensive understanding of the ink space, in order to make us in painting the overall space of the picture grasp and cognition to get a qualitative sublimation, more conducive to the appreciation and creation of ink painting.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【共引文献】