本文關(guān)鍵詞： 當(dāng)代中國(guó)人物畫(huà) 傳統(tǒng) 時(shí)代感 藝術(shù)精神 責(zé)任與使命　出處：《山東師范大學(xué)》2016年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：當(dāng)代中國(guó)人物畫(huà)的發(fā)展建立在整個(gè)中國(guó)的傳統(tǒng)文化藝術(shù)的進(jìn)程之上,且與中西文化交流的加深、西方藝術(shù)形態(tài)的影響有很大關(guān)系。人物畫(huà)的發(fā)展,不僅體現(xiàn)在西方藝術(shù)的沖擊下,傳統(tǒng)的工具、技法、表現(xiàn)方式等等各方面的突破創(chuàng)新,更體現(xiàn)在新時(shí)代的藝術(shù)家的個(gè)性表達(dá),以及對(duì)社會(huì)與民族的責(zé)任使命和人文關(guān)懷。在多元共生的藝術(shù)語(yǔ)境下,富有遠(yuǎn)見(jiàn)卓識(shí)的畫(huà)家們?nèi)诤衔鞣降乃囆g(shù)理念和技法,革故鼎新,探索、發(fā)展、豐富了許多符合當(dāng)代審美需要的中國(guó)人物畫(huà)的表現(xiàn)語(yǔ)言和形式。然而,隨著中國(guó)社會(huì)的發(fā)展,中國(guó)人物畫(huà)創(chuàng)作進(jìn)入了一個(gè)新的歷史時(shí)期,保持民族傳統(tǒng)文化的純潔性成為新的藝術(shù)創(chuàng)作熱點(diǎn)和潮流�，F(xiàn)代社會(huì)對(duì)藝術(shù)價(jià)值判斷的標(biāo)準(zhǔn)逐漸趨向多元,整個(gè)民族的藝術(shù)觀念、審美意識(shí)多元多樣,推動(dòng)藝術(shù)創(chuàng)作者不斷探索、選擇相應(yīng)的表現(xiàn)手段和形式,構(gòu)建更具個(gè)性的、時(shí)代的繪畫(huà)語(yǔ)言和陣地。當(dāng)代中國(guó)人物畫(huà)的嬗變,源于繪畫(huà)主體無(wú)法回避順應(yīng)劇烈變動(dòng)的世界藝術(shù)格局,同時(shí)也源于傳統(tǒng)繪畫(huà)范式在當(dāng)代語(yǔ)境下的自我調(diào)整和重新定位。中國(guó)人物畫(huà)有著悠久的歷史和深厚的底蘊(yùn),在多次社會(huì)動(dòng)蕩歷史變遷的數(shù)千年歷史中傳承發(fā)展。其藝術(shù)內(nèi)涵是創(chuàng)作者對(duì)社會(huì)、民族、人生的認(rèn)識(shí)感悟以及對(duì)美學(xué)的追求,并吸收融合傳統(tǒng)的與現(xiàn)代的藝術(shù)精華,將藝術(shù)升華,達(dá)到精神境界的高度。當(dāng)代中國(guó)人物畫(huà)逐漸走出了近現(xiàn)代單一的寫(xiě)實(shí)主義范疇,由傳統(tǒng)形態(tài)向當(dāng)代形態(tài)的轉(zhuǎn)型過(guò)程中,不斷進(jìn)行筆墨語(yǔ)言與西方造型觀念的融合。藝術(shù)的魅力在于打動(dòng)人心,當(dāng)代中國(guó)人物畫(huà)作為展現(xiàn)藝術(shù)家思想情感與審美意識(shí)的載體之一,凝聚了畫(huà)家的經(jīng)歷、體驗(yàn)、涵養(yǎng)以及社會(huì)責(zé)任。當(dāng)代中國(guó)人物畫(huà)創(chuàng)作者在創(chuàng)作中,吸收融合了傳統(tǒng)與現(xiàn)代的藝術(shù)精華,把對(duì)社會(huì)、民族、人生的親身體驗(yàn)與深刻感悟,毫無(wú)保留地傾注到紙筆之間。因此,優(yōu)秀的人物畫(huà)作品往往能夠很好地體現(xiàn)藝術(shù)家們對(duì)藝術(shù)和美的獨(dú)特闡釋與不懈追求,并滲透到畫(huà)面的每一根線條、每一個(gè)色塊、每一個(gè)布局,展示著時(shí)代賦予的責(zé)任和使命,從而引發(fā)觀眾的強(qiáng)烈共鳴。無(wú)論多小的主題、多大的畫(huà)面,都以一種純粹的思想情感,追求人物畫(huà)藝術(shù)與思想精神高度契合乃至天衣無(wú)縫的境界。然而,在社會(huì)經(jīng)濟(jì)與藝術(shù)市場(chǎng)的影響和推動(dòng)下,當(dāng)代中國(guó)人物畫(huà)與市場(chǎng)的合作、互動(dòng)越來(lái)越密切,這一趨勢(shì)向新一代創(chuàng)作者提出了新的命題和要求。年輕創(chuàng)作者在進(jìn)行人物畫(huà)藝術(shù)創(chuàng)作時(shí),要注意避免陷入市場(chǎng)的盲目以及社會(huì)的浮躁。因此,年輕創(chuàng)作者們應(yīng)悉心學(xué)習(xí)前輩藝術(shù)家門(mén)的精神,突破已有的各種藝術(shù)條框,表達(dá)自己對(duì)人生、社會(huì)、理想等方面的心聲和藝術(shù)思考,力爭(zhēng)在當(dāng)代中國(guó)人物畫(huà)的情感表現(xiàn)、語(yǔ)言形式及思想內(nèi)涵等方面承前啟后、既往開(kāi)來(lái)。
[Abstract]:The development of contemporary Chinese figure painting is based on the process of the whole Chinese traditional culture and art, and with the deepening of the cultural exchange between China and the West, the influence of the western art form is very much related to the development of the figure painting. Not only reflected in the impact of Western art, traditional tools, techniques, ways of expression and other aspects of breakthrough innovation, but also reflected in the new era of artists' personality expression. In the multi-symbiotic art context, the visionary painters integrate the western artistic ideas and techniques, reform the old style, explore and develop. It enriches the expression language and form of Chinese figure painting, which meets the needs of contemporary aesthetics. However, with the development of Chinese society, the creation of Chinese figure painting has entered a new historical period. To maintain the purity of national traditional culture has become a new hot spot and trend of art creation. The standard of art value judgment in modern society has gradually tended to be pluralistic, and the whole nation's artistic concept and aesthetic consciousness are diverse. Promote the art creators to explore, choose the corresponding means and forms of expression, and build a more personalized, era painting language and position. The evolution of contemporary Chinese figure painting. From the painting subject can not avoid to adapt to the dramatic changes of the world art pattern. At the same time, it also stems from the traditional painting paradigm in the contemporary context of self-adjustment and re-positioning. Chinese figure painting has a long history and deep inside information. Its artistic connotation is the creators' understanding of society, nation and life and the pursuit of aesthetics. And absorb the traditional and modern essence of art to sublimate art to the height of the spiritual realm. Contemporary Chinese figure painting gradually out of the modern single category of realism. In the process of transformation from traditional form to contemporary form, the combination of pen and ink language and western styling concept is carried on continuously. The charm of art lies in moving people's heart. Contemporary Chinese figure painting, as one of the carriers to show the artist's thought, emotion and aesthetic consciousness, condenses the painter's experience, experience, self-cultivation and social responsibility. Absorb the traditional and modern essence of art, the social, national, life experience and profound feelings, without reservation, pour between the paper and pen. Outstanding figure painting works often can well reflect the artists' unique interpretation and unremitting pursuit of art and beauty, and permeate every line of the screen, every color block, every layout. Show the responsibility and mission entrusted by the times, thus arousing the audience's strong resonance. No matter how small the theme, no matter how large the picture, with a pure thought and emotion. The pursuit of figure painting art and ideological spirit is highly compatible with and even seamless realm. However, under the influence and promotion of social economy and art market, the cooperation between contemporary Chinese figure painting and market is becoming more and more close. This trend puts forward new propositions and requirements to the new generation of creators. Young creators should pay attention to avoid falling into the blind market and social impetuosity. Young creators should carefully learn the spirit of their predecessors, break through the existing art bars, and express their aspirations and artistic reflections on life, society, ideals, and so on. Strive to connect the past and the future in the emotional expression, language form and ideological connotation of contemporary Chinese figure painting.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：J212
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本文編號(hào)：1448419