论现代写意人物画创作中的形与意
发布时间：2019-06-17 09:49
【摘要】：这是一篇有关现代写意人物画创作中“形”与“意”问题的艺术研究。文章的中心讲述中国绘画有着丰富的门类与庞杂的脉络，而写意人物画乃是中国绘画脉络上独具一格的艺术类学科，它以熟练的笔墨技法为表现方式，以简练的造型手段为抒写形式给大众以超脱意象外的高妙感受，显示着传统文化的博大与深邃，而在这一重要的画种发展史中，“形”与“意”问题是十分重要的研究方向。 写意人物画是一门实践性很强的学科艺术，而“形”与“意”的问题集中地反映在了这门学科艺术中，很好的把握“形”与“意”问题是现代写意人物画创作所体现的重要意义。其中，在正文部分从四个方向来论述。在第一章中对写意人物画进行历史和发展脉络上的考察，探究了中国传统绘画中“形”、“意”思想的来源和发展，为此，在分析了写意人物画的流变后，本文又以美术史的沿革角度深入分析了写意人物画创作的要义。所以本文在第二章中接着开始讨论了“形”与“意”问题的概念界定，首先指出了写意人物画中“形”与“意”这两个要素的依存，并以此展开论述，探讨了写意人物画中“形”与“意”的境界体现。作为有着数千年悠久历史的画种，它以意象这一论点作为“形”与“意”问题中的重要因素贯穿写意人物画创作理论与实践的始终，控制和支配着中国写意人物画。因此在第三章里，文章以写意人物画实践中的意象思考作为主题进行阐述。接着，又以现代写意人物画和传统写意人物画对形意关系处理的不同这一问题为突破口，论述了写意人物画的现代形态。最后，第四章中又再次以“形”与“意”问题为突破口对现代写意人物画的发展进行了展望。现代写意人物画需要我们改进对艺术思想的认识，同时也需要我们传承传统“形”、“意”思想、对写意人物画作全方位认识、以及再次重新审视“形”与“意”问题，所以本文在第四章中就这些方面进行了论述为我们提供启迪。 本文综合运用了文学、哲学、美术学、社会学的有关知识，采用梳理历史脉络、概念探究、观念演绎、定向分析、比较验证等研究方法，结合本人对写意人物画艺术的具体实践进行了有针对性的理论探讨，就中国写意人物画艺术的理论资源及研究方法问题进行了自己的思考与观点，并做出了相关性的展开论述。
[Abstract]:This is an artistic study on the problem of form and meaning in the creation of modern freehand figure painting. The center of the article tells that Chinese painting has rich categories and complicated context, and freehand figure painting is a unique art subject in the context of Chinese painting. It takes skilled pen and ink techniques as the way of expression, and uses concise modeling means as the way to express the wonderful feeling beyond the image of the public, showing the breadth and depth of traditional culture, and in this important kind of painting history, The problem of "form" and "meaning" is a very important research direction. Freehand figure painting is a practical subject art, and the problems of "form" and "meaning" are reflected in this subject art, and a good grasp of the problem of "form" and "meaning" is of great significance in the creation of modern freehand figure painting. Among them, in the main body part from four directions to discuss. In the first chapter, the history and development of freehand figure painting are investigated, and the origin and development of "shape" and "meaning" thought in Chinese traditional painting are explored. Therefore, after analyzing the evolution of freehand figure painting, this paper deeply analyzes the main meaning of freehand figure painting creation from the perspective of the history of art. Therefore, in the second chapter, this paper begins to discuss the definition of the concept of "form" and "meaning". Firstly, it points out the dependence of the two elements of "form" and "meaning" in freehand figure painting, and discusses the realm embodiment of "form" and "meaning" in freehand figure painting. As a kind of painting with a long history of thousands of years, it takes the argument of image as an important factor in the problem of "form" and "meaning" throughout the creation theory and practice of freehand figure painting, and controls and dominates Chinese freehand figure painting. Therefore, in the third chapter, the article takes the image thinking in the practice of freehand figure painting as the theme. Then, taking the difference of the relationship between modern freehand figure painting and traditional freehand figure painting as a breakthrough, this paper discusses the modern form of freehand figure painting. Finally, in the fourth chapter, the development of modern freehand figure painting is prospected with the breakthrough of "shape" and "meaning". Modern freehand figure painting needs us to improve our understanding of artistic thought, but also needs us to inherit the traditional "form", "meaning" thought, to understand the freehand character painting in an all-round way, and to re-examine the problem of "form" and "meaning" again. Therefore, this paper discusses these aspects for us in the fourth chapter. This paper makes comprehensive use of the relevant knowledge of literature, philosophy, art and sociology, combs the historical context, concept inquiry, concept deduction, directional analysis, comparative verification and other research methods, and makes a targeted theoretical discussion on the concrete practice of freehand figure painting art, and makes its own thinking and viewpoint on the theoretical resources and research methods of Chinese freehand figure painting art. And made the correlation to carry out the discussion.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2500901
[Abstract]:This is an artistic study on the problem of form and meaning in the creation of modern freehand figure painting. The center of the article tells that Chinese painting has rich categories and complicated context, and freehand figure painting is a unique art subject in the context of Chinese painting. It takes skilled pen and ink techniques as the way of expression, and uses concise modeling means as the way to express the wonderful feeling beyond the image of the public, showing the breadth and depth of traditional culture, and in this important kind of painting history, The problem of "form" and "meaning" is a very important research direction. Freehand figure painting is a practical subject art, and the problems of "form" and "meaning" are reflected in this subject art, and a good grasp of the problem of "form" and "meaning" is of great significance in the creation of modern freehand figure painting. Among them, in the main body part from four directions to discuss. In the first chapter, the history and development of freehand figure painting are investigated, and the origin and development of "shape" and "meaning" thought in Chinese traditional painting are explored. Therefore, after analyzing the evolution of freehand figure painting, this paper deeply analyzes the main meaning of freehand figure painting creation from the perspective of the history of art. Therefore, in the second chapter, this paper begins to discuss the definition of the concept of "form" and "meaning". Firstly, it points out the dependence of the two elements of "form" and "meaning" in freehand figure painting, and discusses the realm embodiment of "form" and "meaning" in freehand figure painting. As a kind of painting with a long history of thousands of years, it takes the argument of image as an important factor in the problem of "form" and "meaning" throughout the creation theory and practice of freehand figure painting, and controls and dominates Chinese freehand figure painting. Therefore, in the third chapter, the article takes the image thinking in the practice of freehand figure painting as the theme. Then, taking the difference of the relationship between modern freehand figure painting and traditional freehand figure painting as a breakthrough, this paper discusses the modern form of freehand figure painting. Finally, in the fourth chapter, the development of modern freehand figure painting is prospected with the breakthrough of "shape" and "meaning". Modern freehand figure painting needs us to improve our understanding of artistic thought, but also needs us to inherit the traditional "form", "meaning" thought, to understand the freehand character painting in an all-round way, and to re-examine the problem of "form" and "meaning" again. Therefore, this paper discusses these aspects for us in the fourth chapter. This paper makes comprehensive use of the relevant knowledge of literature, philosophy, art and sociology, combs the historical context, concept inquiry, concept deduction, directional analysis, comparative verification and other research methods, and makes a targeted theoretical discussion on the concrete practice of freehand figure painting art, and makes its own thinking and viewpoint on the theoretical resources and research methods of Chinese freehand figure painting art. And made the correlation to carry out the discussion.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
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