工筆人物畫寫意性研究
發(fā)布時(shí)間：2018-08-11 20:30
【摘要】：傳統(tǒng)畫學(xué)思想認(rèn)為,“意”是中國(guó)畫的根本,在創(chuàng)作和表現(xiàn)中處于主導(dǎo)地位。從大的方面說,“意”內(nèi)涵豐富,從中國(guó)的傳統(tǒng)文化、哲學(xué)以及宗教等,到華夏民族的精、氣、神；從小的方面說,“意”是畫家心境、感情、品德以及內(nèi)在氣質(zhì)的體現(xiàn)。古代畫家十分重視培養(yǎng)“胸中逸氣”,文人畫家追求的不僅僅是畫內(nèi)功夫,更看重畫外功夫,即對(duì)自身的文化修養(yǎng)。在傳統(tǒng)美學(xué)中,各門各派對(duì)“意”的涵義各有所論。繪畫理論中的“寫”多為抒寫、抒發(fā)之意,可理解為一種傾吐內(nèi)心、表達(dá)情感的方式。在畫論中最先提到“意”的,是南朝宗炳“夫理絕于中古之上者,可意求于千載之下”。①這里的“意”是指主觀心境、意識(shí),不屬于繪畫范疇。東晉顧愷之的“遷想妙得”,也是“意”。張彥遠(yuǎn)提出“意在筆先,畫盡意在”、“書畫之藝,皆須意氣而成”②,這里的“意”是指情趣、心意、激情。唐人提出的“外師造化,中得心源”等論斷,歸納起來也即一個(gè)“意”字�！耙狻笔钱嫾抑饔^與客觀物我交融的統(tǒng)一；同時(shí)也是畫家表達(dá)精神本質(zhì)的想象過程。探尋并表達(dá)這種“意”,是歷代畫家創(chuàng)作的出發(fā)點(diǎn)和落腳點(diǎn)。作品的“意”,成為大多數(shù)中國(guó)畫家的尋求目標(biāo)；對(duì)書畫作品中“意”的評(píng)價(jià),也成為一幅畫好壞的重要標(biāo)準(zhǔn)。“意”高于作品的“形”、“色”、“技法”等所有的繪畫語言之上幾乎所有的中國(guó)畫家都在尋求“象有盡而意無窮”的境地。寫意性是中國(guó)工筆人物畫的創(chuàng)作傳統(tǒng)中的精華,是工筆畫的本質(zhì)屬性之一,這一屬性在畫面中處于主導(dǎo)地位。 本文針對(duì)工筆人物畫的寫意性進(jìn)行研究,探討其在工筆人物畫中的體現(xiàn)與運(yùn)用,強(qiáng)調(diào)精神性與現(xiàn)實(shí)性并重,發(fā)揚(yáng)形神兼?zhèn)涞膫鹘y(tǒng),通過繪畫語言的創(chuàng)新來表達(dá)東方人的獨(dú)特審美觀念,形成的具有時(shí)代氣息的物我統(tǒng)一的美妙意境,使工筆人物畫獲得新生。在當(dāng)代的藝術(shù)創(chuàng)作實(shí)踐中,工筆畫家應(yīng)不斷更新思想觀念,以獨(dú)特的眼光發(fā)掘當(dāng)代人的審美思想與情懷,繼承傳統(tǒng),開拓創(chuàng)新,中西相融,工寫相宜,積極踴躍地進(jìn)行研究與創(chuàng)作,廣泛借鑒和吸收外來藝術(shù)養(yǎng)分,讓中國(guó)工筆畫這一奇特的繪畫表現(xiàn)形式創(chuàng)造出更多的優(yōu)秀作品,從而促使工筆人物畫在新時(shí)代的成長(zhǎng)。
[Abstract]:The traditional painting thought thinks that "meaning" is the foundation of Chinese painting and plays a leading role in its creation and expression. In a big way, "meaning" has rich connotation, from Chinese traditional culture, philosophy and religion to the spirit, spirit and spirit of the Chinese nation; in a small way, "meaning" is the painter's mood, emotion, moral character and internal temperament. Nowadays, ancient painters attach great importance to the cultivation of "ease in the mind". Literati painters pursue not only inner-painting skills, but also outer-painting skills, that is, their own cultural accomplishment. In the painting theory, the first mention of "meaning" was Zong Bing's "Fu Li is superior to the Middle Ages and can be desirable under a thousand years". The "meaning" here refers to the subjective mood, consciousness, and does not belong to the category of painting. "The art of painting and calligraphy, all must be composed of the spirit". The "meaning" here refers to the interest, the mind, the passion. Tang people put forward the "outside teacher, the source of the heart" and other assertions, summed up is also a "meaning". The "meaning" is the painter's subjective and objective unity of things and I; but also the artist to express the essence of the spirit of the imagination process. And expressing this "meaning" is the starting point and the foothold of all the painters in the past dynasties. Almost all Chinese painters are seeking the situation of "endless imagery and endless meaning". Freehand brushwork is the essence of the creative tradition of Chinese meticulous figure painting, is one of the essential attributes of meticulous brushwork, which is in the dominant position in the picture.
This paper studies the freehand brushwork of meticulous figure painting, discusses its expression and application in meticulous figure painting, emphasizes both spirituality and reality, carries forward the tradition of both body and spirit, expresses the Oriental unique aesthetic concept through the innovation of painting language, and forms a beautiful artistic conception of the unity of material and self with the flavor of the times, so as to make meticulous brushwork. In the practice of contemporary artistic creation, meticulous painters should constantly renew their ideological concepts, explore contemporary people's aesthetic thoughts and feelings with a unique vision, inherit traditions, develop and innovate, blend Chinese and Western, work and write appropriately, actively carry out research and creation, draw on and absorb foreign artistic nutrients extensively, and let Chinese meticulous brush Painting, a peculiar form of painting expression, creates more excellent works, thus promoting the growth of meticulous figure painting in the new era.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212
本文編號(hào)：2178158
[Abstract]:The traditional painting thought thinks that "meaning" is the foundation of Chinese painting and plays a leading role in its creation and expression. In a big way, "meaning" has rich connotation, from Chinese traditional culture, philosophy and religion to the spirit, spirit and spirit of the Chinese nation; in a small way, "meaning" is the painter's mood, emotion, moral character and internal temperament. Nowadays, ancient painters attach great importance to the cultivation of "ease in the mind". Literati painters pursue not only inner-painting skills, but also outer-painting skills, that is, their own cultural accomplishment. In the painting theory, the first mention of "meaning" was Zong Bing's "Fu Li is superior to the Middle Ages and can be desirable under a thousand years". The "meaning" here refers to the subjective mood, consciousness, and does not belong to the category of painting. "The art of painting and calligraphy, all must be composed of the spirit". The "meaning" here refers to the interest, the mind, the passion. Tang people put forward the "outside teacher, the source of the heart" and other assertions, summed up is also a "meaning". The "meaning" is the painter's subjective and objective unity of things and I; but also the artist to express the essence of the spirit of the imagination process. And expressing this "meaning" is the starting point and the foothold of all the painters in the past dynasties. Almost all Chinese painters are seeking the situation of "endless imagery and endless meaning". Freehand brushwork is the essence of the creative tradition of Chinese meticulous figure painting, is one of the essential attributes of meticulous brushwork, which is in the dominant position in the picture.
This paper studies the freehand brushwork of meticulous figure painting, discusses its expression and application in meticulous figure painting, emphasizes both spirituality and reality, carries forward the tradition of both body and spirit, expresses the Oriental unique aesthetic concept through the innovation of painting language, and forms a beautiful artistic conception of the unity of material and self with the flavor of the times, so as to make meticulous brushwork. In the practice of contemporary artistic creation, meticulous painters should constantly renew their ideological concepts, explore contemporary people's aesthetic thoughts and feelings with a unique vision, inherit traditions, develop and innovate, blend Chinese and Western, work and write appropriately, actively carry out research and creation, draw on and absorb foreign artistic nutrients extensively, and let Chinese meticulous brush Painting, a peculiar form of painting expression, creates more excellent works, thus promoting the growth of meticulous figure painting in the new era.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 張偉民;;關(guān)于工筆畫寫意精神的硯邊拾得[J];美術(shù);2008年02期
，本文編號(hào)：2178158
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