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工笔人物画创作中“造型”语言的思考

发布时间:2019-05-09 11:39
【摘要】:绘画不同于其他的艺术方式,它的内容是由画面来呈现的。绘画语言的建立源于作者的感受,除去那些技术层面上使人眼花缭乱的笔触、色彩等,最直接反映给观者的就是“造型”。 “造型”广义可理解为以艺术表现为目的,创造物体形象,它是绘画形式语言中最基本也是最重要的部分。鸦片战争之后,我国面临着西方社会思潮的巨大冲击,这在文化艺术上反应也极为强烈。徐悲鸿等大师将西方素描造型融合到改良中国画的道路上,似乎为中国画进一步的发展开辟了新的蹊径,但是随着诸多问题的出现也印证了改良中国画的道路并不是简单的学习西方绘画中优秀的养分就能够解决问题的。中国工笔人物画“造型”可以从以下四个方面加以理解:一、工笔人物画中线造型的概括,取舍;二、工笔人物画中线造型的节奏感;三、构图也属于画面“造型”的一部分;四、“造型”要有一定的情感表达。
[Abstract]:Painting is different from other forms of art, its content is presented by the picture. The establishment of painting language originates from the author's feelings. Apart from the dazzling strokes and colors at the technical level, the most direct reflection to the viewer is "modeling." In a broad sense, "Modeling" can be understood as creating the image of an object for the purpose of artistic expression, which is the most basic and important part of the formal language of painting. After the Opium War, our country is facing the great impact of the trend of thought in the western society, which is also very strong in culture and art. Xu Beihong and other masters have integrated western sketch modeling into the road of improving Chinese painting, which seems to have opened up a new way for the further development of Chinese painting. However, with the emergence of many problems, it is confirmed that the road of improving Chinese painting can not be solved simply by learning the excellent nutrients in western painting. The Chinese meticulous figure painting "modelling" can be understood from the following four aspects: first, the summary of the middle line modeling of meticulous figure painting, the second, the rhythm sense of the middle line modeling of the meticulous figure painting, the third, the composition of the figure also belongs to the part of the picture "modeling", and the second is the sense of rhythm in the middle line of the meticulous figure painting. Fourth, "modelling" must have a certain emotional expression.
【学位授予单位】:南京师范大学
【学位级别】:硕士
【学位授予年份】:2014
【分类号】:J212

【共引文献】

相关期刊论文 前10条

1 陶昌平;代洪琴;;解读绘画表现中的“横涂竖抹”[J];楚雄师范学院学报;2012年02期

2 任晓婷;;水墨人物画造型语言探析[J];大众文艺;2013年08期

3 李雪莲;;基地写生与绘画创作的思考[J];大众文艺;2014年10期

4 王钟;;模糊的“写实”[J];湖北师范学院学报(哲学社会科学版);2010年05期

5 吴敏;;简论现代写意人物画之中国画素描训练[J];美术向导;2011年02期

6 王q,

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