心象传神—从梁楷到李世南大写意人物画的笔墨传承
发布时间：2019-04-17 07:20
【摘要】：中国大写意人物画历史悠久，，乃中国传统文化的积淀与发展，始于南宋梁楷，通过减笔泼墨的豪放和洒脱的性情来传达审美理想与传神意念，注重内心世界与笔墨的融汇贯通，只有心灵有所感悟形成心中之象再运用熟练的笔墨技法，才能传达神韵。本文在解释笔墨、心象和传神含义的基础之上对梁楷和李世南的大写意人物画作进行个案研究，探讨二者之间的传承性与共通性——心象传神，即画者生成心象后借助娴熟的笔墨并遵循本心之象便能做到寥寥几笔神情毕现，为实现大写意人物的传神提供理论指导，为促进复兴大写意人物的绘画“中国梦”供给营养。 大写意人物画看似极其简括抒意，实则非常人所能为，若无发明本心之象，千锤百炼之笔，即使心中有象也是枉然。随着经济的迅速增长，时代步伐加快，社会压力不断加重，工细繁琐之人物画风难免会让观者更为揪心，给观者带来久视后的视觉疲惫，无法满足观者的审美需求，这一现实情况有助于推进大写意人物画回归南宋时的盛荣盛况，实现其艺术的伟大复兴。
[Abstract]:Chinese freehand figure painting has a long history, is the accumulation and development of Chinese traditional culture, began in the Southern Song Dynasty Liang Kai, through the reduction of ink-splashing bold and free and easy nature to convey the aesthetic ideal and spirit, pay attention to the inner world and ink fusion, Only the mind has the feeling to form the heart of the image and then the use of skilled pen and ink skills, can convey the charm. This paper makes a case study of Liang Kai's and Li Shinan's paintings of large freehand characters on the basis of explaining the meanings of pen and ink, image of mind and evocative meaning, and probes into the inheritance and commonality between them, that is, the transmission of mind images to convey spirits. That is to say, with the help of skillful writing and ink and following the image of the heart, the painter can achieve a few strokes of expression, provide theoretical guidance for the realization of the inspiration of the great freehand characters, and provide nutrition for promoting the revival of the painting "Chinese Dream" of the great freehand characters. The freehand figure painting seems to be extremely concise, but in fact it is beyond the ordinary people's ability. If there is no invention of the image of the original heart, if there is a thousand works of pen, even if there is an image in the heart, it is in vain. With the rapid growth of economy, the acceleration of the pace of the times, social pressure continues to aggravate, the tedious figure painting style will inevitably make the viewer more worried, bring the viewer visual fatigue after a long time, unable to meet the aesthetic needs of the viewer, This reality helps to promote the return of large-scale figure painting to the prosperity of the Southern Song Dynasty, and to realize the great renaissance of its art.
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2459230
[Abstract]:Chinese freehand figure painting has a long history, is the accumulation and development of Chinese traditional culture, began in the Southern Song Dynasty Liang Kai, through the reduction of ink-splashing bold and free and easy nature to convey the aesthetic ideal and spirit, pay attention to the inner world and ink fusion, Only the mind has the feeling to form the heart of the image and then the use of skilled pen and ink skills, can convey the charm. This paper makes a case study of Liang Kai's and Li Shinan's paintings of large freehand characters on the basis of explaining the meanings of pen and ink, image of mind and evocative meaning, and probes into the inheritance and commonality between them, that is, the transmission of mind images to convey spirits. That is to say, with the help of skillful writing and ink and following the image of the heart, the painter can achieve a few strokes of expression, provide theoretical guidance for the realization of the inspiration of the great freehand characters, and provide nutrition for promoting the revival of the painting "Chinese Dream" of the great freehand characters. The freehand figure painting seems to be extremely concise, but in fact it is beyond the ordinary people's ability. If there is no invention of the image of the original heart, if there is a thousand works of pen, even if there is an image in the heart, it is in vain. With the rapid growth of economy, the acceleration of the pace of the times, social pressure continues to aggravate, the tedious figure painting style will inevitably make the viewer more worried, bring the viewer visual fatigue after a long time, unable to meet the aesthetic needs of the viewer, This reality helps to promote the return of large-scale figure painting to the prosperity of the Southern Song Dynasty, and to realize the great renaissance of its art.
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
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本文编号：2459230
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