古韵新腔—“谢赫六法”与吴冠中的艺术创作
发布时间：2019-06-10 16:05
【摘要】：谢赫提出的六法论是一个颇为完备的绘画理论体系。其包含着浓厚的文化传统和丰富的绘画精神内涵：通过表现对象的韵律感、生命力和表达画家的主观感受和评价，到用笔刻画对象的形体、结构，以及运用色彩、进行构图和师法传承，最终达到形神兼备的境界。其绘画精神不仅对中国画产生了深远的影响，也对中国油画的发展有着重要的启示意义。在历代画家的不断完善和发展中，“六法论”逐渐成为中国画家立论的标准和衡量绘画作品品味高下的法则。其中，吴冠中的画作能最有力度的说明“谢赫六法”对中国油画创作的意义。 众所周知，吴冠中是20世纪现代中国绘画画坛上的一位有着举足轻重地位的代表画家，在其艺术创作的历程上，他始终遵循着“中国画现代化”、“油画民族化”的创作理念，，探索出一条最具特色的中西融合的艺术道路。“谢赫六法”赋予吴冠中内在的理论支撑，可以说，他的艺术创作最能反映出“谢赫六法”中各项原则的体现，甚至有的被吴冠中进一步揣摩并加以创新。在这一点上，吴冠中的艺术创作可以说是东西方艺术的完美融合及升华，因此笔者试图通过论述吴冠中艺术创作的特点来论证谢赫六法对油画创作的意义。 目前，国内外学者对吴冠中的研究虽然很多，但从六法论的角度来研究的几乎没有。因此，笔者对此进行大胆尝试，专门从六法论的角度对吴冠中的艺术创作进行系统的分析，这是本论文的独特视角，也是重点所在。第一章主要介绍了六法论的绘画精神及艺术价值，从“气韵生动、骨法用笔、应物象形、随类赋彩、经营位置、传移模写”六个方面进行梳理。第二章阐述了吴冠中对六法论的反思及创新点，从西方游学的形式探索、东方赤子的民族情结和中西融合的新路径三方面进行阐述。第三章分析了“谢赫六法”与吴冠中艺术创作的内在联系，从吴冠中油画创作的“气韵美、笔法美、形式美、色彩美、构思美以及传承与创造性”六个方面进行系统的论证和研究。这是本论文的重点，也是难点所在。最后，通过对吴冠中艺术创作的绘画精神和艺术表现来论述其对后世的影响，笔者认为只有继续沿袭“六法”，才能创造中国油画的辉煌前景，分别从“传承六法”和“发扬六法”两方面阐述此观点。
[Abstract]:The six-method theory put forward by Shaikh is a quite complete theoretical system of painting. It contains strong cultural tradition and rich spiritual connotation of painting: by expressing the rhythm of the object, vitality and expressing the subjective feelings and evaluation of the painter, to depict the body, structure and color of the object with a pen. Carry on the composition and the teacher method inheritance, and finally reach the realm of both form and spirit. His painting spirit not only has a profound impact on Chinese painting, but also has important enlightenment significance to the development of Chinese oil painting. In the continuous improvement and development of painters in previous dynasties, "six Dharma Theory" has gradually become the standard of Chinese painters' theory and the law to measure the taste of painting works. Among them, Wu Guanzhong's painting can explain the significance of Xie he's six methods to Chinese oil painting creation. As we all know, Wu Guanzhong is a representative painter who plays an important role in the field of modern Chinese painting in the 20th century. In the course of his artistic creation, he has always followed the creative concept of "modernization of Chinese painting" and "nationalization of oil painting". Explore one of the most characteristic artistic road of the integration of China and the West. It can be said that his artistic creation can best reflect the embodiment of the principles in the "Shaikh six methods", and some of them have even been further speculated and innovated by Wu Guanzhong. On this point, Wu Guanzhong's artistic creation can be said to be the perfect fusion and sublimation of eastern and western art, so the author tries to demonstrate the significance of Xiehe's six methods to oil painting creation by discussing the characteristics of Wu Guanzhong's artistic creation. At present, although there are many studies on Wu Guanzhong by scholars at home and abroad, there are few studies from the perspective of six laws. Therefore, the author makes a bold attempt to make a systematic analysis of Wu Guanzhong's artistic creation from the perspective of six laws, which is not only the unique perspective of this paper, but also the key point of this paper. The first chapter mainly introduces the painting spirit and artistic value of the six methods theory, and combs it from six aspects: vivid charm, bone style pen, object image, color with class, management position and transfer mold writing. The second chapter expounds Wu Guanzhong's reflection and innovation on the theory of six laws, from three aspects: the form exploration of western travel, the national complex of Chizi in the east and the new path of the integration of China and the West. The third chapter analyzes the internal relationship between "Xiehe six methods" and Wu Guanzhong's artistic creation, from the "charm beauty, pen style beauty, form beauty, color beauty" of Wu Guanzhong oil painting creation. The beauty of conception and inheritance and creativity are systematically demonstrated and studied in six aspects. This is the focus of this paper, but also the difficulty. Finally, through the painting spirit and artistic expression of Wu Guanzhong's artistic creation to discuss its influence on later generations, the author believes that only by continuing to follow the "six laws" can we create the brilliant prospect of Chinese oil painting. This paper expounds this point of view from two aspects: inheriting the six laws and carrying forward the six laws.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213
本文编号：2496569
[Abstract]:The six-method theory put forward by Shaikh is a quite complete theoretical system of painting. It contains strong cultural tradition and rich spiritual connotation of painting: by expressing the rhythm of the object, vitality and expressing the subjective feelings and evaluation of the painter, to depict the body, structure and color of the object with a pen. Carry on the composition and the teacher method inheritance, and finally reach the realm of both form and spirit. His painting spirit not only has a profound impact on Chinese painting, but also has important enlightenment significance to the development of Chinese oil painting. In the continuous improvement and development of painters in previous dynasties, "six Dharma Theory" has gradually become the standard of Chinese painters' theory and the law to measure the taste of painting works. Among them, Wu Guanzhong's painting can explain the significance of Xie he's six methods to Chinese oil painting creation. As we all know, Wu Guanzhong is a representative painter who plays an important role in the field of modern Chinese painting in the 20th century. In the course of his artistic creation, he has always followed the creative concept of "modernization of Chinese painting" and "nationalization of oil painting". Explore one of the most characteristic artistic road of the integration of China and the West. It can be said that his artistic creation can best reflect the embodiment of the principles in the "Shaikh six methods", and some of them have even been further speculated and innovated by Wu Guanzhong. On this point, Wu Guanzhong's artistic creation can be said to be the perfect fusion and sublimation of eastern and western art, so the author tries to demonstrate the significance of Xiehe's six methods to oil painting creation by discussing the characteristics of Wu Guanzhong's artistic creation. At present, although there are many studies on Wu Guanzhong by scholars at home and abroad, there are few studies from the perspective of six laws. Therefore, the author makes a bold attempt to make a systematic analysis of Wu Guanzhong's artistic creation from the perspective of six laws, which is not only the unique perspective of this paper, but also the key point of this paper. The first chapter mainly introduces the painting spirit and artistic value of the six methods theory, and combs it from six aspects: vivid charm, bone style pen, object image, color with class, management position and transfer mold writing. The second chapter expounds Wu Guanzhong's reflection and innovation on the theory of six laws, from three aspects: the form exploration of western travel, the national complex of Chizi in the east and the new path of the integration of China and the West. The third chapter analyzes the internal relationship between "Xiehe six methods" and Wu Guanzhong's artistic creation, from the "charm beauty, pen style beauty, form beauty, color beauty" of Wu Guanzhong oil painting creation. The beauty of conception and inheritance and creativity are systematically demonstrated and studied in six aspects. This is the focus of this paper, but also the difficulty. Finally, through the painting spirit and artistic expression of Wu Guanzhong's artistic creation to discuss its influence on later generations, the author believes that only by continuing to follow the "six laws" can we create the brilliant prospect of Chinese oil painting. This paper expounds this point of view from two aspects: inheriting the six laws and carrying forward the six laws.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213
【参考文献】
相关期刊论文 前1条
1 吴冠中;笔墨当随时代——读张振铎老师的画[J];美术研究;1982年01期
本文编号：2496569
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