浅析近现代写实水墨人物画存在的意义

发布时间：2019-03-17 12:14

【摘要】：近现代写实水墨人物画经过一些教育家、画家的改革和探索，，主要是经历了一场中西融合的变革，实际上就是写实造型的引进与传统笔墨产生的矛盾、调整、互相借鉴又融为一体的过程，从这一过程中我们看到水墨人物画表现出发现自我、完善自我的特点。本文通过梳理近现代中西绘画相互融合的历史背景、理论基础，分析其创作成果的特点，同时探讨笔墨和造型之间的历史关系，以便总结二者之间的联系，给当代画家一些启示。本文主体的第二章分四个阶段概述了写实水墨人物画的起源和发展状况。第一阶段，萌芽时期。商品经济的兴起和市民阶层的需求这两个主要外在因素为西方写实观在中国社会生根发芽提供了一片沃土；画家们自身思想的转变让西方写实绘画技法在中国开花结果。这一时期，画家任伯年首先接受了新思想，经过仔细研究后大胆作出新的尝试，画风也随之改变，有别于前人，他的画因此也受到了中外收藏家的广泛好评。第二阶段，徐悲鸿改良传统水墨人物画时期。20世纪初，留法回国的徐悲鸿深刻认识到传统中国画的一些弊端，主张在继承传统优点的基础上，吸收西方绘画的有利因素，从而改良中国画。他的这一思想吸引了很多人的眼球，并得到广泛的讨论，虽然有些人持反对意见，但是我们不得不承认他对写实水墨人物画的发展做出了巨大贡献。最后两个阶段是建国初期和“文革”后。在徐悲鸿改良中国画思想提出后的近百年的时间里，经过蒋兆和、周昌谷、方增先、卢沉、周思聪、王盛烈、刘国辉等几代人的不断探索和努力，使这一画种从幼稚走向成熟，又走上了多元化的道路，取得了相当丰硕的成果。另外，由于当下创作者驾驭重大历史题材的能力越来越强，这一题材的作品也颇受观众的喜爱，本文单独把这一题材列出来阐述一下写实手法在这一题材中的运用。第三章从主客观两方面入手深入分析写实水墨人物画一直存在的必然性，主观方面既水墨人物画本身的发展需要，客观方面主要是由历史环境和受众两种因素决定的。第四章阐述写实主义对当代水墨人物画创作的一些启示。水墨人物画发展到今天，“以人为本”成为当代画家最关注的课题，这就要求当代画家不断强化造型能力，谨慎处理笔墨与造型之间的关系，融合东西，同时把握时代的脉搏，处理好这些关系应该成为当代写实水墨人物画家的终身使命。最后概括总结出近现代写实水墨人物画存在的意义。我们看到，今天的中国文化正在繁荣发展，中国的写实水墨人物画也终将成为引领中国绘画发展的巨大引擎。
[Abstract]:After the reform and exploration by some educators and painters, the modern realistic ink figure painting mainly experienced a transformation of the integration of the Chinese and the western countries. In fact, it was the contradiction and adjustment between the introduction of the realistic modeling and the traditional pen and ink. From the process of drawing lessons from each other, we can see that the ink figure painting shows the characteristics of self-discovery and self-perfection. By combing the historical background and theoretical basis of the fusion of Chinese and Western paintings in modern times, this paper analyzes the characteristics of their creative achievements, and at the same time probes into the historical relationship between pen and ink and modelling, in order to summarize the relationship between them. Give some inspiration to contemporary painters. The second chapter of this paper summarizes the origin and development of realistic ink figure painting in four stages. The first stage, the budding period. The rise of commodity economy and the demand of the citizen class provide a fertile ground for the western realism view to take root in Chinese society, and the change of the painters' own thought makes the western realistic painting techniques bloom in China. During this period, the painter Ren Bonian first accepted the new thought, after careful study, boldly made a new attempt, the painting style also changed, different from the predecessors, his paintings have also been widely praised by collectors at home and abroad. In the second stage, Xu Beihong improved the period of traditional ink figure painting. At the beginning of the 20th century, Xu Beihong, who returned from France, deeply recognized some disadvantages of traditional Chinese painting and advocated absorbing the favorable factors of Western painting on the basis of inheriting traditional advantages. In order to improve the Chinese painting. His idea has attracted a lot of people's attention and has been widely discussed. Although some people disagree, we have to admit that he has made a great contribution to the development of realistic ink figure painting. The last two stages are the early days of the people's Republic of China and after the Cultural Revolution. In the nearly 100 years since Xu Beihong's thought of improving Chinese painting was put forward, through the continuous exploration and efforts of several generations such as Jiang Zhaohe, Zhou Changgu, Fang Zengxian, Lu Chen, Zhou Sicong, Wang Shenglie, Liu Guohui, and so on, this kind of painting has moved from childish to mature. And on the road of diversification, has achieved quite fruitful results. In addition, because the contemporary creators' ability to master major historical themes is becoming stronger and stronger, the works of this subject matter are also popular with the audience, this article lists this theme separately to illustrate the application of realistic techniques in this subject. The third chapter analyzes the inevitability of realistic ink figure painting from the subjective and objective aspects. The objective aspect is mainly determined by the historical environment and the audience. The fourth chapter expounds some enlightenments of realism to the creation of contemporary ink figure painting. With the development of ink figure painting today, "people-oriented" has become the most concerned topic for contemporary painters, which requires contemporary painters to continuously strengthen their modeling ability, carefully handle the relationship between ink and shape, integrate things, and at the same time grasp the pulse of the times. To deal with these relationships should be the life-long mission of contemporary realistic ink-painting painters. At last, it summarizes the significance of realistic ink figure painting in modern times. We can see that today's Chinese culture is booming and Chinese realistic ink figure painting will eventually become a huge engine leading the development of Chinese painting.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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