浅谈龚贤的笔墨特征及对当代中国画的启示

发布时间：2018-08-27 18:04

【摘要】：笔墨作为中国画的精髓，从古至今有着悠久的历史，经过了千年的积累和沉淀，它的发展有着自身的要求和高度，但是不管怎么发展怎么变，都是有着国画所特有的审美标准，所以我们应该重视传统笔墨的继承和掌握。通过不断的实践作画，找到适合我们自己的笔墨。本文先谈到了龚贤的生平及师承，，但我们更关注他的笔墨。龚贤的一生命运多舛，所以他把自己的精神寄托都放在了作画上，随着他不断继承前人的笔墨和不停的实践写生，两者搭配，龚贤的用笔用墨的发展变化出现了三个阶段。在这三个阶段里，描述了龚贤的不同的用笔用墨变化和特点。因为他确立一些笔墨标准，所以给了当代画家很大的启示，如黄宾虹、李可染等画家对龚贤的笔墨研究就受益匪浅，特别积墨法的影响是最大的。现在就有一批人，他们只被前人笔墨的形式感等表面的好看的效果所吸引，只做了一些效果，而忽略了用笔用墨的书写性和高雅，运用的很随意、很不讲究，这样的话就失去了用笔用墨的书情达意，失去了国画中笔墨的本意，也就不应该再叫做国画了，因为它不符合国画审美的标准。所以我们应该在继承前人笔墨的同时，在写生实践中构建属于自己的笔墨语言，也就是说我们现在最应该做的就是吸收笔墨的传承并努力推动笔墨的发展。
[Abstract]:As the essence of Chinese painting, pen and ink have a long history from ancient times to the present. After thousands of years of accumulation and precipitation, its development has its own requirements and height, but no matter how it develops, it has its own aesthetic standard, which is unique to traditional Chinese painting. Therefore, we should attach importance to the inheritance and mastery of traditional ink and pen. Through the continuous practice of painting, find suitable for our own pen and ink. This article first talks about Gong Xian's life and teaching, but we pay more attention to his pen and ink. Gong Xian's life is ill-fated, so he put his spiritual sustenance on painting. With the succession of his predecessors' pen and ink and the unceasing practice of sketching, the development and change of Gong Xian's pen and ink appeared in three stages. In these three stages, the paper describes Gong Xian's different changes and characteristics of ink used in pen. Because he established some pen and ink standards, he gave great inspiration to contemporary painters, such as Huang Binhong, Li Keran and other painters who benefited greatly from the study of Gong Xian's pen and ink, especially the influence of ink accumulation method is the greatest. Now there are a number of people who are only attracted by the good-looking effects of their predecessors, such as the formal feeling of the pen and ink, and have done only some effects, while ignoring the writing and elegance of the ink used by the pen, they use it very casually and without paying attention to it. In this case, the loss of the pen with ink, the loss of the original meaning of traditional Chinese painting, it should not be called Chinese painting, because it does not meet the aesthetic standards of traditional Chinese painting. So we should inherit the previous pen and ink at the same time, in the practice of painting to build their own pen and ink language, that is, we should now is to absorb the inheritance of pen and ink and strive to promote the development of pen and ink.
【学位授予单位】：鲁迅美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【相似文献】