浅析素描造型语言在近现代山水画中的运用

发布时间：2018-11-14 17:43

【摘要】：素描作为一种最基本的绘画表现形式，发展到如今它面对和解决的是绘画艺术当中最基础、最本质的问题。它作为一种造型艺术，要想表达绘画者的各种感受与思想，就必须把基本的“造型语言”放在首要的位置，它包括“点、线、面、形，以及结构，空间感，光感，质感等。在中国上下五千年的历史长河中，作为一种社会意识形态而存在的“艺术”，始终伴随着政治经济的发展而发展着，他也是中国的传统文化之一。中国画，作为中国博大精深的文化底蕴之一，以其独特地精神面貌和表现手法存在着发展着，它以“神韵”“笔墨”为主调为人类所共识。山水画在中国的传统绘画当中占据着十分重要的地位，也有着非常悠久的历史。但是作为美术基础课程的“素描”与中国的山水画之间到底有什么样的千丝万缕的关系，本论文通过重点论述素描造型语言中的“点、线、面、形，以及结构，空间感，光感，质感”在近现代山水画当中的体现与运用，通过列举分析李可染、林风眠、徐悲鸿、贾又福等具有代表性的山水画家以及他们的代表作品，揭开了素描的“造型语言”与中国山水画之间存在着的千丝万缕的关系。我们都知道，在现如今每一位具有美术功底的艺术家、美术爱好者、艺术类院校的艺术生等，他们几乎都具有一定的素描功底，无论他们最后是选择哪一美术门类，中国画、油画或是设计等等，“素描”这一基本功训练都是必不可少的，本文以此为切入点展开论述，最终回归到如何促进中国山水画的新发展上来，在新的社会文化背景下发展演变着，在传统文化的大的历史背景下，，中国的山水画呈现出了日新月异的表现形式，朝着多元化的方向发展着，即便如此，我们仍然不能抛弃传统，不能丢掉传统的文化背景和艺术地位，20世纪以来山水画出现了多元化的发展，各种表现技法层出不穷。虽然形式是借鉴了西方绘画艺术理论，但是这一切也是在尊重传统文化的基础之上的，由此引发我们深思，应该如何在立足于传统的基础之上，积极促进中国山水画的新发展。
[Abstract]:Sketch, as a basic form of painting, has developed to face and solve the most basic and essential problems in painting art. As a plastic art, it is necessary to put the basic "modeling language" in the primary position to express the feelings and thoughts of the painters. It includes "points, lines, surfaces, shapes, and structures, space, light, texture, etc." In the long history of five thousand years in China, "art", which exists as a kind of social ideology, has been developing along with the development of political economy, and he is also one of the traditional cultures in China. Chinese painting, as one of the profound cultural details of China, is developing with its unique spirit and expression, and it is the common understanding of mankind with the tone of "charm" and "pen and ink". Landscape painting in Chinese traditional painting occupies a very important position, but also has a very long history. But what is the relationship between sketch, as a basic course of fine arts, and Chinese landscape painting? this paper focuses on the "point, line, surface, shape, structure, space sense, light sense" in the language of sketch modeling. The embodiment and application of "texture" in modern landscape painting, through enumeration and analysis of Li Keran, Lin Fengmian, Xu Beihong, Jia Youfu and other representative landscape painters and their representative works, The relationship between the "modeling language" of sketch and Chinese landscape painting is unravelled. As we all know, in today's world, every artist, art lover, art student in an art college has a certain background in sketch, no matter what kind of art they choose, Chinese painting. Oil painting or design and so on, "sketch" the basic skills are essential, this article as a starting point to discuss, and finally return to how to promote the new development of Chinese landscape painting, In the new social and cultural background, under the background of traditional culture, landscape painting in China has shown a rapidly changing form of expression, towards the direction of diversification, even so, We can still not abandon tradition, traditional cultural background and artistic status, since the 20th century landscape painting appeared a diversified development, various performance techniques emerge in endlessly. Although the form is drawing lessons from the western painting art theory, but all this is also based on respect for traditional culture, thus causing us to ponder how to base on the traditional basis, actively promote the new development of Chinese landscape painting.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212;J214

【共引文献】