当代写意人物画笔墨语言研究
发布时间：2019-02-18 22:00
【摘要】：绘画几乎伴随着整个人类文明的发展历程。在中国,原始人创作的岩壁画、新石器时代的彩陶画、先秦时代的布帛画、魏晋南北朝时期成熟的卷轴画、以及吸收西方绘画技巧的近现代画等,都反映了人类对艺术的不懈追求。近代以来,绘画已不再局限于传统,对新时代文化理念的推广、对其它绘画流派技巧的借鉴都是促进绘画发展的动力。中国当代写意人物画要做到推陈出新、随时代发展,须在传统的基础上,吸收新元素为己所用。绘画的精髓是文化内核所蕴含的理念,写意人物画所表现的主要是中华民族文化的精髓。因此,在进行写意人物画创作时,须领会中华民族的文化底蕴,体会其情感,汲取其精髓；并在实际运用中将新的理念及绘画技巧与传统有机融合,将要表达的艺术内涵和情感在艺术作品中完美呈现,方能推动写意人物画的发展。本文探讨重点为写意人物画的笔墨语言。笔墨语言不仅是写意人物画的载体,亦是写意人物画不断创新发展的基础。文中通过总结中国传统写意人物画笔墨语言的发展,认为写意人物画笔墨语言本质是表达创作者对中国传统文化的认知,特点是将笔墨的简约化把作品中人物的“意”形象表达。不同时期写意人物画体现了时代的文化背景和创作者的审美情趣,而这些内容均通过笔墨语言进行表达。文中探讨了当代写意人物画在笔墨语言方面对传统写意人物画的继承和创新,以及对西方绘画流派的借鉴等内容。总结了当代写意人物画的发展方向和发展道路,并对写意人物画的发展前景和目标进行了探讨。作者认为当代写意人物画创作者在笔墨语言方面应以多元化为目标,促进笔墨语言逐渐走向更加广阔的领域,赋予作品更加丰富的生命力。除理论研究外,作者也在创作方面进行实践检验,尝试将个人对中国文化的理解在写意人物画作品中体现。
[Abstract]:Painting is almost accompanied by the development of the entire human civilization. In China, primitive paintings of rock walls, painted pottery of the Neolithic Age, cloth and silk paintings of the pre-Qin period, mature scroll paintings of the Wei, Jin and Southern and Northern dynasties, and modern paintings absorbing Western painting skills, etc. It reflects the unremitting pursuit of art. Since modern times, painting has been no longer confined to tradition. The promotion of cultural ideas in the new era and the reference of other painting schools are the driving forces to promote the development of painting. Chinese contemporary freehand figure painting should bring forth the old and develop with the times, and absorb new elements for its own use on the basis of tradition. The essence of painting is the idea contained in the core of culture, and the essence of Chinese culture is the essence of freehand figure painting. Therefore, in the creation of freehand figure painting, we must understand the cultural background of the Chinese nation, experience its feelings, absorb its essence; And in the actual application of new ideas and painting techniques and traditional organic fusion, will express the artistic connotation and emotion in the perfect presentation of art works, can promote the development of freehand figure painting. This paper focuses on the brushstroke language of freehand brushwork. The language of brush and ink is not only the carrier of freehand figure painting, but also the basis of continuous innovation and development of freehand figure painting. By summing up the development of Chinese traditional brushwork, the author thinks that the essence of freehand brushwork is to express the creators' cognition of Chinese traditional culture. It is characterized by the simplification of pen and ink to express the "meaning" image of the characters in the works. The freehand figure painting of different periods embodies the cultural background of the times and the aesthetic taste of the creators, and these contents are expressed through the ink and brush language. This paper probes into the inheritance and innovation of the traditional freehand figure painting in the aspect of brush and ink language of contemporary freehand brushwork painting, as well as the reference to the western painting schools and so on. This paper summarizes the development direction and development road of the contemporary freehand figure painting, and probes into the development prospect and goal of the freehand brushwork figure painting. The author thinks that contemporary freehand brushwork creators should aim at diversity in the language of stroke and ink, promote the language of stroke and ink to a wider field and give the works more abundant vitality. In addition to the theoretical research, the author also carries on the practical test in the aspect of creation, tries to embody the personal understanding of the Chinese culture in the freehand brushwork.
【学位授予单位】：沈阳师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212
本文编号：2426256
[Abstract]:Painting is almost accompanied by the development of the entire human civilization. In China, primitive paintings of rock walls, painted pottery of the Neolithic Age, cloth and silk paintings of the pre-Qin period, mature scroll paintings of the Wei, Jin and Southern and Northern dynasties, and modern paintings absorbing Western painting skills, etc. It reflects the unremitting pursuit of art. Since modern times, painting has been no longer confined to tradition. The promotion of cultural ideas in the new era and the reference of other painting schools are the driving forces to promote the development of painting. Chinese contemporary freehand figure painting should bring forth the old and develop with the times, and absorb new elements for its own use on the basis of tradition. The essence of painting is the idea contained in the core of culture, and the essence of Chinese culture is the essence of freehand figure painting. Therefore, in the creation of freehand figure painting, we must understand the cultural background of the Chinese nation, experience its feelings, absorb its essence; And in the actual application of new ideas and painting techniques and traditional organic fusion, will express the artistic connotation and emotion in the perfect presentation of art works, can promote the development of freehand figure painting. This paper focuses on the brushstroke language of freehand brushwork. The language of brush and ink is not only the carrier of freehand figure painting, but also the basis of continuous innovation and development of freehand figure painting. By summing up the development of Chinese traditional brushwork, the author thinks that the essence of freehand brushwork is to express the creators' cognition of Chinese traditional culture. It is characterized by the simplification of pen and ink to express the "meaning" image of the characters in the works. The freehand figure painting of different periods embodies the cultural background of the times and the aesthetic taste of the creators, and these contents are expressed through the ink and brush language. This paper probes into the inheritance and innovation of the traditional freehand figure painting in the aspect of brush and ink language of contemporary freehand brushwork painting, as well as the reference to the western painting schools and so on. This paper summarizes the development direction and development road of the contemporary freehand figure painting, and probes into the development prospect and goal of the freehand brushwork figure painting. The author thinks that contemporary freehand brushwork creators should aim at diversity in the language of stroke and ink, promote the language of stroke and ink to a wider field and give the works more abundant vitality. In addition to the theoretical research, the author also carries on the practical test in the aspect of creation, tries to embody the personal understanding of the Chinese culture in the freehand brushwork.
【学位授予单位】：沈阳师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212
【参考文献】
相关期刊论文 前2条
1 丁晓青;;谈西洋油画的意境[J];上饶师范学院学报;2013年02期
2 ;新发现的长沙战国楚墓帛画[J];文物;1973年07期
，本文编号：2426256
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2426256.html
