【摘要】：本文主要以新中國成立,二十世紀以來中國山水畫,在時代改革創(chuàng)新精神的召喚下,以毛澤東思想社會主義理論的指引,通過歷史唯物主義的指導(dǎo)精神,來描繪二十世紀的新中國在思想、文化方向上的轉(zhuǎn)變,反應(yīng)人民群眾在新環(huán)境下的生活環(huán)境,歌頌美好的大自然,歌頌我們的黨。通過這樣的梳理,就是要深刻認識中國山水繪畫的發(fā)展脈絡(luò),在新時代語境下的構(gòu)圖方式、描繪內(nèi)容與方法以及表達出的人文精神。通過闡述20世紀以來典型性代表畫家的作品風(fēng)貌創(chuàng)作背景,并結(jié)合自身創(chuàng)作實踐來闡述現(xiàn)代山水繪畫的構(gòu)成圖示,和以寫生為主要手段的創(chuàng)作模式在當下的指導(dǎo)意義。20世紀中國山水畫通過寫生改造和創(chuàng)新的過程中,正接受著來自西方的藝術(shù)觀念,立體主義、后印象派、原始主義和抽象表現(xiàn)主義等圖示語言、明暗、色彩冷暖、體面關(guān)系等都正在潛移默化的影響中國畫家在作品中有別于過去任何時代的構(gòu)圖形式,而通過地域性又形成了京津、江南、西北和嶺南等群體。山水畫家將自身對于大自然的真實感受和建國以來接受的西方科學(xué)觀察法的訓(xùn)練,有效的將自然山川美景轉(zhuǎn)化為筆墨語言,而在意境的營造和錘煉做到了可觀性與主觀性的統(tǒng)一,并且風(fēng)格形式等呈現(xiàn)多樣化的態(tài)勢,這些無疑為現(xiàn)代山水的改革與創(chuàng)新提供了有效的途徑。但是,不可否認的是,新山水畫在延續(xù)20世紀初期以科學(xué)主義的素描、色彩及透視原理下付出了喪失中國傳統(tǒng)文化精神下對于山水繪畫的品評標準。這些都值得深思也唯有視山水繪畫為文化,回歸名族精神的母體中,才會更好將中國山水繪畫呈現(xiàn)在國人和世界面前。
[Abstract]:This article is mainly based on the founding of New China, Chinese landscape painting since the 20th century, under the call of the spirit of innovation and reform of the times, under the guidance of the socialist theory of Mao Zedong thought, and through the guiding spirit of historical materialism. To describe the new China in the 20th century in the ideological and cultural changes, reflecting the people's living environment in the new environment, eulogizing the beautiful nature, eulogizing our party. Through such combing, it is necessary to deeply understand the development of Chinese landscape painting, the way of composition, the description of content and method, and the humanistic spirit expressed in the context of the new era. By expounding the background of the representative painters' style and features since the 20th century, and combining their own creative practice, this paper expounds the composition of the modern landscape painting. Chinese landscape painting in the 20th century through the process of sketch transformation and innovation, is receiving from the Western artistic concepts, cubism, post-impressionism, Primitive and Abstract Expressionism and other graphic languages, light and shade, warm and cold colors, decent relations, etc., are all exerting a subtle influence on the composition forms of Chinese painters in their works that are different from those of any previous era, and have formed Beijing and Tianjin through regionalism. Jiangnan, northwest and Lingnan groups. Landscape painters will have their own true feelings of nature and the training of western scientific observation methods received since the founding of the people's Republic of China, effectively transforming the beautiful scenery of natural mountains and rivers into ink and pen language. However, the unity of observability and subjectivity in the construction and exercise of artistic conception and the diversification of style and form provide an effective way for the reform and innovation of modern landscape. However, it is undeniable that the new landscape painting in the beginning of the 20th century with the scientific sketch, color and perspective principle to pay for the loss of the spirit of traditional Chinese culture for landscape painting evaluation standards. All these are worth pondering and only if we regard landscape painting as culture and return to the mother body of the national spirit can we better present Chinese landscape painting in front of Chinese people and the world.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J212

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1 胡家琪;現(xiàn)代山水畫構(gòu)成與寫生關(guān)系[D];湖北美術(shù)學(xué)院;2015年

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本文編號：2375469