李斛的彩墨人物画探究
发布时间：2019-06-13 07:25
【摘要】：本文以李斛的彩墨人物画为研究内容,以史籍和其画作为途径,以作品风格分析为重点,按照其作品的艺术分期梳理出其作品发展变化的特点,进一步分析其彩墨人物画的语言形态,从而引发李斛先生的彩墨人物画对当代水墨人物画的启示与反思。 在结合了大量的作品评述和视频影像等资料的基础上,本文还试图从微观的角度切入选题,把李斛的彩墨人物画的绘画风格纳入整个水墨人物画的发展历程中来研究,将画家本人与同时期的其他画家做了横向比较,又将画家本人在不同时期的作品做了自身的纵向比较,多角度全方位的呈现了其绘画风格的形成及转变。 本文将李斛的彩墨人物画放置于其所产生的特定历史文化背景之中进行考察,对其所具有的精神内涵和学术意义进行探究：纵观美术史,李斛先生无疑是一位过渡性的画家,在探索的过程中,一方面,其中西合璧的新语言极大地丰富了中国人物绘画的表现力,是中国水墨人物画绘画语言当代性构建的先行者之一。另一方面,其用线的独立审美价值的削弱以及彩、墨主次的倒置等出现的问题,一定程度上消解了中国画的文化品质和美学价值,使其学术演进的轨迹存在着模糊的不确定性。然而在如何继承传统和借鉴西法的问题上,其开拓性的尝试,对水墨人物画的后学之辈起到了积极的借鉴意义。
[Abstract]:This paper takes Li Dendang's colored ink figure painting as the research content, takes the historical records and his painting as the way, takes the work style analysis as the focal point, combs out the characteristics of the development and change of his works according to the artistic stage of his works, and further analyzes the language form of his color ink figure painting, thus arousing the enlightenment and reflection of Mr. Li Dendang's color ink figure painting to the contemporary ink figure painting. On the basis of combining a large number of works comments and video images and other materials, this paper also attempts to cut into the topic from a micro point of view, to study the painting style of Dendrobium's colored ink figure painting into the whole development process of ink figure painting, to make a horizontal comparison between the painter himself and other painters in the same period, and to make his own vertical comparison of his works in different periods. Multi-angle omni-directional presentation of its painting style formation and transformation. In this paper, Li Dendrobium's colored ink figure painting is investigated in the specific historical and cultural background, and its spiritual connotation and academic significance are explored: throughout the history of art, Mr. Li Dendang is undoubtedly a transitional painter. On the one hand, the new language of the combination of Chinese and Western characters greatly enriches the expressive force of Chinese character painting. It is one of the forerunners of the contemporary construction of Chinese ink figure painting language. On the other hand, the weakening of the independent aesthetic value of the line and the inversion of color and ink have dispelled the cultural quality and aesthetic value of Chinese painting to a certain extent, and there is a vague uncertainty in the track of its academic evolution. However, on the issue of how to inherit the tradition and learn from Western France, its pioneering attempt has played a positive reference significance for the latecomers of ink figure painting.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2498359
[Abstract]:This paper takes Li Dendang's colored ink figure painting as the research content, takes the historical records and his painting as the way, takes the work style analysis as the focal point, combs out the characteristics of the development and change of his works according to the artistic stage of his works, and further analyzes the language form of his color ink figure painting, thus arousing the enlightenment and reflection of Mr. Li Dendang's color ink figure painting to the contemporary ink figure painting. On the basis of combining a large number of works comments and video images and other materials, this paper also attempts to cut into the topic from a micro point of view, to study the painting style of Dendrobium's colored ink figure painting into the whole development process of ink figure painting, to make a horizontal comparison between the painter himself and other painters in the same period, and to make his own vertical comparison of his works in different periods. Multi-angle omni-directional presentation of its painting style formation and transformation. In this paper, Li Dendrobium's colored ink figure painting is investigated in the specific historical and cultural background, and its spiritual connotation and academic significance are explored: throughout the history of art, Mr. Li Dendang is undoubtedly a transitional painter. On the one hand, the new language of the combination of Chinese and Western characters greatly enriches the expressive force of Chinese character painting. It is one of the forerunners of the contemporary construction of Chinese ink figure painting language. On the other hand, the weakening of the independent aesthetic value of the line and the inversion of color and ink have dispelled the cultural quality and aesthetic value of Chinese painting to a certain extent, and there is a vague uncertainty in the track of its academic evolution. However, on the issue of how to inherit the tradition and learn from Western France, its pioneering attempt has played a positive reference significance for the latecomers of ink figure painting.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
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