吴冠中艺术思想研究
发布时间：2018-12-20 12:30
【摘要】：吴冠中是中国绘画领域极具影响力的人物。他师承中国近代绘画大师林风眠“中西贯通”的艺术理念,学习中方与西方不同绘画表现形式,游走于绘画表现的“具象”与“抽象”、“形式”与“意境”之间,探寻中国绘画“中西融合”的发展道路。并在此实践道路的基础上,提出了以“中西融合”为总指导的艺术思想。对解决中国现代绘画发展所面临的“东方与西方”、“传统与现代”关系的问题产生了一定影响。 本文从历史发展的角度,通过分析、归纳的方法,对吴冠中的艺术思想进行研究。第一章为本文的绪论部分,主要介绍当前学术界对吴冠中艺术思想进行研究的现状,并对本论题选择的原因和意义作出简单介绍。第二章主要从吴冠中的人生经历出发,分析吴冠中不同时期的艺术选择对其之后艺术思想的影响。第三章为本文的主体部分,选取了吴冠中“绘画形式美”、“风筝不断线”、“笔墨等于零”、“‘法’随‘情’变”四个具有代表性和影响力的艺术思想进行研究。第一节探讨吴冠中主张绘画的形式美。他区分传统论断对绘画形式的错误认识,强调点、线、面基础元素的形式构成,追求“形式”与“意境”相结合的形式美表现,体现出吴冠中对绘画形式“主体地位”的回归。第二节探讨吴冠中为“人民作画”的创作立场。他强调绘画创作要保持与人民之间的联系,抽象形式作品的创作要回归于生活,并强调绘画作品要放置在世界艺术领域进行比较,体现出吴冠中对绘画作品“民族性”与“世界性”的追求。第三节研究吴冠中对传统笔墨发展的看法。他否认中国绘画“唯笔墨是”的品评习惯,强调“笔墨”是情感表现的载体,强调“笔墨当随时代”,体现吴冠中对笔墨旧形式的革新。第四节讨论吴冠中对作品情感的表达。他强调作品“感受”对“技法”的控制地位,提出通过“写生”来获得画家丰富的艺术感受,体现出吴冠中追求绘画作品情景交融的“意境美”。第四章主要对吴冠中艺术思想形成的原因进行论述,指出吴冠中发展中国绘画的责任意识、融合中、西方的教育背景是其艺术思想形成的内因和外因。第五章论述吴冠中艺术思想对绘画领域以及美术批评领域的影响。最后在文章的结语部分总结吴冠中艺术思想中的“融合”与“情”两个特点。
[Abstract]:Wu Guanzhong is a very influential figure in the field of Chinese painting. He inherited the artistic idea of Lin Feng-mian, a master of modern Chinese painting, "linking China and the West", and studied the different forms of Chinese and Western paintings, and wandered between "figurative" and "abstract", "form" and "artistic conception" in painting. To explore the development of Chinese painting "the integration of China and the West". On the basis of the practice, the author puts forward the artistic thought which is guided by the integration of Chinese and Western. It has a certain influence on solving the problems of "East and West" and "tradition and modernity" in the development of modern Chinese painting. From the perspective of historical development, this paper studies Wu Guanzhong's artistic thought by means of analysis and induction. The first chapter is the introduction of this paper, mainly introduces the current academic research on the art of Wu Guanzhong, and makes a brief introduction to the reasons and significance of the choice of this topic. The second chapter mainly from Wu Guanzhong's life experience, analyzes the influence of Wu Guanzhong's artistic choice in different periods on his later artistic thought. The third chapter is the main part of this paper, selected Wu Guanzhong "painting form beauty", "kite constant line", "pen and ink equal to zero", "law 'with' emotion 'change" four representative and influential artistic thought to carry on the research. The first section discusses the formal beauty of painting advocated by Wu Guanzhong. He distinguishes the wrong understanding of painting form in the traditional judgment, emphasizes the form composition of the basic elements of point, line and surface, pursues the form beauty expression of "form" and "artistic conception", and embodies Wu Guanzhong's return to the "subject position" of painting form. The second section discusses Wu Guanzhong's creative standpoint of painting for the people. He stressed that painting should maintain a link with the people, that the creation of abstract form works should be returned to life, and that paintings should be placed in the world of art for comparison. It embodies Wu Guanzhong's pursuit of "nationality" and "world". The third section studies Wu Guanzhong's views on the development of traditional pen and ink. He denies the evaluation habit of "only brush and ink" in Chinese painting, emphasizes that "pen and ink" is the carrier of emotional expression, and emphasizes that "pen and ink should follow the times", which reflects Wu Guanzhong's innovation on the old form of pen and ink. The fourth section discusses the expression of Wu Guanzhong's emotion. He emphasized the controlling position of "feeling" to "technique", and proposed to obtain the rich artistic feeling of the painter through "sketching", which reflected Wu Guanzhong's pursuit of "artistic conception beauty". The fourth chapter mainly discusses the reasons of the formation of Wu Guanzhong's artistic thought, and points out that Wu Guanzhong's responsibility consciousness of developing Chinese painting is the internal cause and external cause of the formation of Wu Guanzhong's artistic thought. The fifth chapter discusses the influence of Wu Guanzhong's art thought on painting field and art criticism field. Finally, the conclusion of the article summarizes the two characteristics of Wu Guanzhong's artistic thought: "fusion" and "emotion".
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J20
本文编号：2388000
[Abstract]:Wu Guanzhong is a very influential figure in the field of Chinese painting. He inherited the artistic idea of Lin Feng-mian, a master of modern Chinese painting, "linking China and the West", and studied the different forms of Chinese and Western paintings, and wandered between "figurative" and "abstract", "form" and "artistic conception" in painting. To explore the development of Chinese painting "the integration of China and the West". On the basis of the practice, the author puts forward the artistic thought which is guided by the integration of Chinese and Western. It has a certain influence on solving the problems of "East and West" and "tradition and modernity" in the development of modern Chinese painting. From the perspective of historical development, this paper studies Wu Guanzhong's artistic thought by means of analysis and induction. The first chapter is the introduction of this paper, mainly introduces the current academic research on the art of Wu Guanzhong, and makes a brief introduction to the reasons and significance of the choice of this topic. The second chapter mainly from Wu Guanzhong's life experience, analyzes the influence of Wu Guanzhong's artistic choice in different periods on his later artistic thought. The third chapter is the main part of this paper, selected Wu Guanzhong "painting form beauty", "kite constant line", "pen and ink equal to zero", "law 'with' emotion 'change" four representative and influential artistic thought to carry on the research. The first section discusses the formal beauty of painting advocated by Wu Guanzhong. He distinguishes the wrong understanding of painting form in the traditional judgment, emphasizes the form composition of the basic elements of point, line and surface, pursues the form beauty expression of "form" and "artistic conception", and embodies Wu Guanzhong's return to the "subject position" of painting form. The second section discusses Wu Guanzhong's creative standpoint of painting for the people. He stressed that painting should maintain a link with the people, that the creation of abstract form works should be returned to life, and that paintings should be placed in the world of art for comparison. It embodies Wu Guanzhong's pursuit of "nationality" and "world". The third section studies Wu Guanzhong's views on the development of traditional pen and ink. He denies the evaluation habit of "only brush and ink" in Chinese painting, emphasizes that "pen and ink" is the carrier of emotional expression, and emphasizes that "pen and ink should follow the times", which reflects Wu Guanzhong's innovation on the old form of pen and ink. The fourth section discusses the expression of Wu Guanzhong's emotion. He emphasized the controlling position of "feeling" to "technique", and proposed to obtain the rich artistic feeling of the painter through "sketching", which reflected Wu Guanzhong's pursuit of "artistic conception beauty". The fourth chapter mainly discusses the reasons of the formation of Wu Guanzhong's artistic thought, and points out that Wu Guanzhong's responsibility consciousness of developing Chinese painting is the internal cause and external cause of the formation of Wu Guanzhong's artistic thought. The fifth chapter discusses the influence of Wu Guanzhong's art thought on painting field and art criticism field. Finally, the conclusion of the article summarizes the two characteristics of Wu Guanzhong's artistic thought: "fusion" and "emotion".
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J20
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，本文编号：2388000
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