藏族题材写意人物画初探
发布时间：2019-02-27 06:42
【摘要】：本文以藏族题材中国人物画为主线,对早期的藏族题材美术发展进行了追溯,对新中国成立以来藏族题材中国人物画的思想观念和表现手法的演变更新进行了梳理和研究,并结合了每个时期代表性的画家以及作品进行了分析,对藏族题材中国人物画的创作重点进行了分析,结合近些年当下的画家以及优秀作品从作品面貌、经营布局、民族色彩、造型语言进行了分析探讨,在论文写作期问,笔者搜集整理了相关的文献资料和图像资料,并进行了大量藏族题材人物画的笔墨实践与创作。 本文主要分为四个章节,第一章以西部美术题材的兴起为线索,回顾藏族题材中国画的发展过程,并按时间顺序,将藏族题材中国人物画创作的发展分为五十至七十年代和八十年代以后两个部分,以举例、分析的方法对两个时期藏族题材中国画创作的发展变迁做了归纳和总结；第二章分析了藏族题材人物画创作重点,主要为突出民族精神、民族情感、民俗、宗教、民族服饰等方面；第三章通过对画面表现形式的多元化、笔墨造型、经营布局上的研究,对存在的问题做了总结,将时代性与藏族题材写意人物画创作进行了思考；第四章主要是写自己在攻读硕士期间的创作学习体会,结合自己的创作实践,探讨如何更好地发展藏族题材写意人物画。
[Abstract]:This article takes the Tibetan subject Chinese figure painting as the main line, has carried on the tracing back to the early Tibetan subject art development, has carried on the carding and the research to the Tibetan subject Chinese figure painting since the founding of the people's Republic of China's ideological concept and the expression method evolution renewal has carried on the comb and the research. And combined with each period of representative painters and works of analysis, the Tibetan theme of Chinese figure painting creation focus on the analysis, combined with the contemporary painters and excellent works in recent years from the face of the work, business layout, ethnic color, The modeling language is analyzed and discussed. During the writing period, the author collects and arranges the relevant literature and image materials, and carries on a large number of practice and creation of Tibetan figure painting in pen and ink. This paper is divided into four chapters. The first chapter reviews the development process of Tibetan Chinese painting with the clue of the rise of western art theme, and according to the order of time. This paper divides the development of Tibetan Chinese figure painting into two parts: the fifties to seventies and the eighties. With some examples, the author sums up and summarizes the development and changes of Tibetan Chinese painting creation in the two periods. The second chapter has analyzed the Tibetan subject matter figure painting creation focal point, mainly for highlights the national spirit, the national emotion, the folk custom, the religion, the national dress and so on aspect; The third chapter makes a summary of the existing problems through the study of the diversification of the form of expression of the picture, the modeling of pen and ink, and the management layout, and ponders over the times and the creation of Tibetan subject matter freehand figure painting. The fourth chapter is mainly about how to develop Tibetan freehand figure painting better in combination with my own creative practice, which is mainly about my experience in writing and studying during the period of studying for master's degree.
【学位授予单位】：西北民族大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2431202
[Abstract]:This article takes the Tibetan subject Chinese figure painting as the main line, has carried on the tracing back to the early Tibetan subject art development, has carried on the carding and the research to the Tibetan subject Chinese figure painting since the founding of the people's Republic of China's ideological concept and the expression method evolution renewal has carried on the comb and the research. And combined with each period of representative painters and works of analysis, the Tibetan theme of Chinese figure painting creation focus on the analysis, combined with the contemporary painters and excellent works in recent years from the face of the work, business layout, ethnic color, The modeling language is analyzed and discussed. During the writing period, the author collects and arranges the relevant literature and image materials, and carries on a large number of practice and creation of Tibetan figure painting in pen and ink. This paper is divided into four chapters. The first chapter reviews the development process of Tibetan Chinese painting with the clue of the rise of western art theme, and according to the order of time. This paper divides the development of Tibetan Chinese figure painting into two parts: the fifties to seventies and the eighties. With some examples, the author sums up and summarizes the development and changes of Tibetan Chinese painting creation in the two periods. The second chapter has analyzed the Tibetan subject matter figure painting creation focal point, mainly for highlights the national spirit, the national emotion, the folk custom, the religion, the national dress and so on aspect; The third chapter makes a summary of the existing problems through the study of the diversification of the form of expression of the picture, the modeling of pen and ink, and the management layout, and ponders over the times and the creation of Tibetan subject matter freehand figure painting. The fourth chapter is mainly about how to develop Tibetan freehand figure painting better in combination with my own creative practice, which is mainly about my experience in writing and studying during the period of studying for master's degree.
【学位授予单位】：西北民族大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
【参考文献】
相关期刊论文 前3条
1 邓维东,林木;从风情再现到精神表现——20世纪中国少数民族题材美术研究[J];美术;2001年10期
2 魏东;;西部少数民族题材人物画创作探索[J];文艺争鸣;2009年09期
3 焦治平,陈昌文;论地理和宗教在藏族丧葬风俗中的作用[J];西藏研究;2003年03期
，本文编号：2431202
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