介入的“素描”
发布时间：2018-08-28 08:15
【摘要】：“素描”作为西方艺术的舶来品，是通过日本对西方语言的翻译从而被纳入中国语言系统，并在中国的艺术发展中经历了曲折的风雨历程。从二十世纪初期，素描这种艺术形式正式进入中国人的视野至今，素描介入中国画造型基础训练已有一百多年的历史。这种异质艺术语言的引入，并介入中国画教学，对中国画的造型基础训练方式产生重大影响，同时也使中国传统绘画的笔墨与西方明暗写实技法的探索成为一种艰难的精神之旅。 在中国的艺术发展史上，中国的艺术大师们对于中西方绘画的融合也做了很多努力，虽然这些艺术实践在一定程度上取得过一些成绩，但这种不同文化背景下的介入必将引发一系列问题。由于中国画在造型基础训练中有着自己独特的观察方法和认知方式，这种特殊性正是素描无法解决中国绘画问题的关键所在。中国绘画艺术中审美语言的魅力和感染力来源于其独有的造型手法——用笔造型和用墨造型。同时，这种根植于线造型的笔墨审美也正是素描无法解决的问题之一。毛笔宣纸上的造型能力赋予中国画独特的艺术审美价值。中国画的以线造型既不完全依附于形体又不随意突破用笔手法程式。造型上以追求“似与不似之间”作为评判的标准。唐代张彦远提出“形似之外求其画”就是主张艺术作品的主观内心表现，强调主客体的统一。因此，中国画的用线具有相对独立的审美价值，是用以传达作者对于外在物象的一种精神体验的手段和方式，，是完全依附于物象形体的西方传统素描用线所无法解决和取代的。 而西方素描的引入则在一定程度上打破了中国画但求笔墨而不求造型的传统，改变了中国画追求笔墨意趣的造型特点，从而削弱了中国画的艺术表现力。因此，我们应立足文化的土壤上学习和看待西方艺术，不断丰富中国画的绘画语言，使中国画冲破传统的束缚，创新求异。同时，还要保持中国画的民族精神，避免生搬硬套、削足适履，逐渐偏离民族艺术传统和文化背景，完全陷入西方写实绘画的话语强势之中。
[Abstract]:As an import of western art, Sketch was brought into the Chinese language system through Japanese translation of western languages, and experienced a tortuous course in the development of Chinese art. Since the beginning of the 20th century, the art form of sketch formally entered the Chinese field of vision, sketch has been involved in the basic training of Chinese painting modeling for more than 100 years. The introduction of this heterogeneous artistic language and its involvement in the teaching of Chinese painting have had a significant impact on the basic training methods of the modeling of Chinese painting. At the same time, the exploration of traditional Chinese painting and western realistic techniques has become a difficult spiritual journey. In the history of the development of Chinese art, Chinese masters of art have also made a lot of efforts to integrate Chinese and Western painting, although these artistic practices have made some achievements to a certain extent. However, the intervention of this kind of different cultural background will inevitably lead to a series of problems. Because Chinese painting has its own unique observation method and cognitive way in the basic training of modeling, this particularity is the key point in which sketch can not solve the problem of Chinese painting. The charm and appeal of aesthetic language in Chinese painting come from its unique styling technique-styling with pen and ink. At the same time, this line-based aesthetic painting is also one of the problems that cannot be solved by sketch. The styling ability of brush Xuan paper endows Chinese painting with unique artistic aesthetic value. Chinese painting to line modeling is not completely attached to the form and not at will break through the use of pen program. In shape, the pursuit of "resemblance and non-resemblance" is taken as the criterion of judgment. In Tang Dynasty, Zhang Yanyuan put forward that "seeking painting beyond likeness" is the subjective inner expression of art works, emphasizing the unity of subject and object. Therefore, the line used in Chinese painting has relatively independent aesthetic value, which is used to convey the author's spiritual experience of external objects, which can not be solved and replaced by the traditional Western sketch line, which is completely dependent on the body of the object image. To some extent, the introduction of Western sketch breaks the tradition of Chinese painting but not modeling, and changes the styling characteristics of Chinese painting in pursuit of pen and ink interest, thus weakening the artistic expressiveness of Chinese painting. Therefore, we should base ourselves on the soil of culture to study and treat western art, enrich the painting language of Chinese painting, and make Chinese painting break through the shackles of tradition and innovate and seek differences. At the same time, we should keep the national spirit of traditional Chinese painting, avoid sticking to it, and gradually deviate from the national art tradition and cultural background, and fall into the strong discourse of western realistic painting.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212;J214
本文编号：2208815
[Abstract]:As an import of western art, Sketch was brought into the Chinese language system through Japanese translation of western languages, and experienced a tortuous course in the development of Chinese art. Since the beginning of the 20th century, the art form of sketch formally entered the Chinese field of vision, sketch has been involved in the basic training of Chinese painting modeling for more than 100 years. The introduction of this heterogeneous artistic language and its involvement in the teaching of Chinese painting have had a significant impact on the basic training methods of the modeling of Chinese painting. At the same time, the exploration of traditional Chinese painting and western realistic techniques has become a difficult spiritual journey. In the history of the development of Chinese art, Chinese masters of art have also made a lot of efforts to integrate Chinese and Western painting, although these artistic practices have made some achievements to a certain extent. However, the intervention of this kind of different cultural background will inevitably lead to a series of problems. Because Chinese painting has its own unique observation method and cognitive way in the basic training of modeling, this particularity is the key point in which sketch can not solve the problem of Chinese painting. The charm and appeal of aesthetic language in Chinese painting come from its unique styling technique-styling with pen and ink. At the same time, this line-based aesthetic painting is also one of the problems that cannot be solved by sketch. The styling ability of brush Xuan paper endows Chinese painting with unique artistic aesthetic value. Chinese painting to line modeling is not completely attached to the form and not at will break through the use of pen program. In shape, the pursuit of "resemblance and non-resemblance" is taken as the criterion of judgment. In Tang Dynasty, Zhang Yanyuan put forward that "seeking painting beyond likeness" is the subjective inner expression of art works, emphasizing the unity of subject and object. Therefore, the line used in Chinese painting has relatively independent aesthetic value, which is used to convey the author's spiritual experience of external objects, which can not be solved and replaced by the traditional Western sketch line, which is completely dependent on the body of the object image. To some extent, the introduction of Western sketch breaks the tradition of Chinese painting but not modeling, and changes the styling characteristics of Chinese painting in pursuit of pen and ink interest, thus weakening the artistic expressiveness of Chinese painting. Therefore, we should base ourselves on the soil of culture to study and treat western art, enrich the painting language of Chinese painting, and make Chinese painting break through the shackles of tradition and innovate and seek differences. At the same time, we should keep the national spirit of traditional Chinese painting, avoid sticking to it, and gradually deviate from the national art tradition and cultural background, and fall into the strong discourse of western realistic painting.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212;J214
【参考文献】
相关期刊论文 前2条
1 李春锋;;浅论创作主体的修养与艺术格调[J];艺术广角;2007年04期
2 吴慎峰;;论马蒂斯的素描艺术[J];艺术研究;2011年03期
本文编号：2208815
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