现代没骨画—东方绘画的新表现

发布时间：2019-02-28 19:14

【摘要】：没骨画作为中国传统绘画的一种，一直以来存在于工笔和写意的中间地带，并随着时代文明的进步而逐步发展和创新，无论在材料或者技法亦或是观念意识上，也都很出新。但是却并没有在绘画界引起相应的重视，只有少数一些画家在坚持着现代没骨画的创作和实践，并且关于没骨画的理论著作和系统的文献记载也没有太多，所以关于没骨画的讨论和研究也显得特别有必要。本文以没骨画为研究主题，把题目定为《现代没骨画—东方绘画的新表现》，从内容上先把没骨画的定义、特点及其主要的技法简要地概括了一下,引入关于没骨画的历史回望，后又着重阐述了没骨画的起源以及自古以来没骨画的发展历程；接下来从不同的角度来对没骨画做了相应的分类和归纳，之后从现当代的一些有代表性的没骨画家为例展示现代没骨画在当代的新气象，指出没骨画的内在的东方绘画创作精神，并把没骨画与中国传统绘画和西方绘画做对比来指出现代没骨画的东方绘画新韵味，而要做到“新”，创新才是发展的唯一途径，结合理论知识，加上自己对于没骨画的实践感受，最后又结合时代的发展来展望现代没骨画的美好未来。没骨画在中国传统绘画的历史上沉沉浮浮，有太多人的实践和创造才能走到今天，它重写实、重色彩，把笔墨简化，对于非工即写的中国画形式也是很好的补充。一些现代没骨画家顺应时代的发展，，与时俱进，无论从绘画题材上还是材料、技法上都能结合古今和中外，又始终站在东方绘画的意趣范畴之内，呈现各具特色的新面貌，这对于现代没骨画的发展来说，无疑是一种有益的启发和引导。
[Abstract]:As a kind of traditional Chinese painting, no-bone painting has always existed in the middle zone between craftsmanship and freehand, and gradually developed and innovated with the progress of the civilization of the times. It is also very new in materials, techniques and ideas as well. However, it has not attracted corresponding attention in the painting world. Only a few painters are adhering to the creation and practice of modern boneless paintings, and there is not much written and systematic literature on the theory and system of bony painting. Therefore, the discussion and research on the non-bone painting is also very necessary. In this paper, the subject of the study is the painting without bones, and the title is defined as "the New expression of Modern painting without Bone-the New expression of Oriental painting." first, the definition, characteristics and main techniques of the painting with no bones are briefly summarized from the point of view of the content. Introduce the history of no-bone painting look back, and then focus on the origin of no-bone painting and the development process of no-bone painting since ancient times; Next, the corresponding classification and induction of non-bone painting is made from different angles, and then some representative non-bone painters are taken as examples to show the new atmosphere of modern no-bone painting in the contemporary era. This paper points out the inner spirit of oriental painting creation of "no bone painting" and compares it with Chinese traditional painting and western painting to point out the new flavor of modern oriental painting without bone painting, and to be "new", innovation is the only way to develop. Combined with theoretical knowledge, combined with their own experience of the practice of bone-free painting, and finally combined with the development of the times to look forward to the bright future of modern bone-free painting. No-bone painting in the history of traditional Chinese painting ups and downs, there are too many people's practice and creativity to go to today, it rerealistic, heavy color, simplified pen and ink, it is also a good complement to the form of non-work-writing Chinese painting. Some modern bone-free painters conform to the development of the times and keep pace with the times. They can combine ancient and modern times with Chinese and foreign countries in terms of painting subject matter and materials, techniques and techniques, and have always stood within the category of interest in oriental painting, presenting new features with their own characteristics. This is undoubtedly a useful inspiration and guidance for the development of modern boneless painting.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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