“气韵生动”对中国水彩人物画创作之启示

发布时间：2019-01-30 07:57

【摘要】：中国水彩画随着西画东渐传入中国已有100多年的历史,但是由于它缘于西方的观察与表现语言,受学院派的影响,注重扎实的基本功和写实能力,对本土语言、精神认识不足,面对中国的审美观与绘画语境,有一个传入、学习、转化、提高的过程。本文首先对中国传统绘画理论中“气韵生动”和“传神写照”的概念进行了系统研究,梳理了“传神”、“气”和“韵”等概念的原本含意,在中国传统人物画中的美学特征,以及其在中国绘画中的发展,确立了绘画是文人载道的手段,其目的是表现作者内心的精神世界——“畅神”,使绘画从表现客观对象之“神”、“气韵”而转向艺术家自己内心之“神”、“气韵”。本文拟运用传统美学精髓对应当代中国水彩人物画创作表现语言与精神内涵,通过对中国上世纪八十年代后当代艺术的变革与中国水彩人物画的发展脉络进行比较,反观中国水彩人物画创作水平得到显著提高,具有坚实的造型能力和精湛的艺术语言,通过对人物形象的塑造和精神面貌的深入刻画,表现了丰富多彩的现实生活,艺术表现力丰富,视觉冲击力增强,提高了水彩画的审美品位和艺术境界；当然,也存在一些重技不重道、急功近利等现象。从而提出气韵生动对中国水彩人物画之启示：在水彩人物画的创作中,注重由“技进乎道”,回归“气韵生动”原本“传神”的内涵,将水性特征、色彩表现力等作为表现方式和手段,使其征相互协调,做到以形写神,表现艺术家内心的自我；并从中国传统“水墨画”中吸取“笔墨”营养,保持水彩画的水性特征,并将人物刻画和水韵特色很好的结合,创作出具有中国人审美意趣特征的作品。
[Abstract]:Chinese watercolor paintings have been introduced to China for more than 100 years along with the eastward introduction of western paintings. However, due to the observation and expression languages of the West, influenced by academicians, they pay attention to solid basic skills and realistic skills, and lack of understanding of the local language and spirit. In the face of Chinese aesthetic and painting context, there is a process of introduction, learning, transformation and improvement. Firstly, this paper systematically studies the concepts of "vivid charm" and "vivid spirit" in the traditional Chinese painting theory, combing the original meaning of the concepts of "vivid charm", "qi" and "rhyme", and the aesthetic characteristics of the concepts in Chinese traditional figure painting. As well as its development in Chinese painting, it establishes that painting is a means for literati to carry the Tao, the purpose of which is to express the spiritual world of the author's innermost-"unobstructed spirit", so that painting can express the "God" of the objective object. "charm" turns to the artist's own inner "god", "charm". This paper intends to use the essence of traditional aesthetics to correspond to the expression language and spiritual connotation of contemporary Chinese watercolor figure painting creation, and to compare the development of Chinese watercolor figure painting with the change of contemporary art after the 1980s in China. On the contrary, the creation level of Chinese watercolor figure painting has been significantly improved, with solid modeling ability and exquisite artistic language. Through the creation of characters and spiritual features, it shows rich and colorful real life. The artistic expression is rich and the visual impact is enhanced, which improves the aesthetic taste and artistic realm of watercolor painting. Of course, there are some emphasis on technology not heavy road, eager to achieve immediate benefits and other phenomena. Thus, this paper puts forward the inspiration of vivid charm to Chinese watercolor figure painting: in the creation of watercolor figure painting, we should pay attention to the connotation of the original "vivid charm" and bring the water-based character back to the original connotation of "vivid charm". Color expression as a way and means of expression, so that it can coordinate with each other, so as to form and write spirit, the expression of the artist's inner self; And from Chinese traditional "ink painting" to absorb "brush and ink" nutrition, to maintain the watercolor characteristics, and the characters and water rhyme characteristics of a good combination, the creation of Chinese aesthetic characteristics of the works.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J215

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