本文關(guān)鍵詞： 明代肖像畫(huà) 造型 平面性 傳承創(chuàng)新　出處：《首都師范大學(xué)》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：中國(guó)繪畫(huà)藝術(shù)源遠(yuǎn)流長(zhǎng),工筆人物畫(huà)在歷史長(zhǎng)河中經(jīng)過(guò)了漫長(zhǎng)而深遠(yuǎn)的發(fā)展,呈現(xiàn)出具有東方審美情趣的獨(dú)特而穩(wěn)定的藝術(shù)面貌。 從工筆人物畫(huà)的繼承與發(fā)展來(lái)看,中國(guó)畫(huà)優(yōu)秀傳統(tǒng)是歷朝歷代繪畫(huà)的堅(jiān)實(shí)基礎(chǔ),因?yàn)樵趥鹘y(tǒng)的面前我們能理解到中國(guó)畫(huà)所獨(dú)有的魅力。在正確看待歷代工筆人物畫(huà)發(fā)展的過(guò)程中,也應(yīng)該引起我們對(duì)于現(xiàn)當(dāng)代工筆人物畫(huà)發(fā)展走向問(wèn)題的思考。對(duì)于傳統(tǒng),我們應(yīng)該從中繼承什么;對(duì)于外來(lái)文化因素,我們?nèi)绾挝沼幸娴臇|西。在當(dāng)代工筆人物畫(huà)繁榮發(fā)展的現(xiàn)狀背后,來(lái)看工筆人物畫(huà)對(duì)傳統(tǒng)的回歸、復(fù)興與未來(lái)發(fā)展的問(wèn)題。 本文從中國(guó)人物畫(huà)造型觀(guān)獨(dú)特的平面性來(lái)入手,平面性的造型是中國(guó)繪畫(huà)的基本特征,是區(qū)別于西方繪畫(huà)的根本也是中國(guó)繪畫(huà)所特有的風(fēng)格與意境。以明代肖像畫(huà)為例來(lái)分析平面性在歷史進(jìn)程中的發(fā)展與變化,通過(guò)對(duì)明代肖像畫(huà)作品的的研究和分析,來(lái)闡述自己對(duì)于明代肖像畫(huà)中平面性的一點(diǎn)理解,同時(shí)引出本文對(duì)于中國(guó)工筆人物畫(huà)發(fā)展現(xiàn)狀的思索。
[Abstract]:Chinese painting art has a long history, meticulous figure painting in the history of a long and far-reaching development, showing a oriental aesthetic taste unique and stable artistic appearance. From the inheritance and development of the fine brushwork figure painting, the fine tradition of Chinese painting is the solid foundation of each dynasty painting. Because in front of the tradition we can understand the unique charm of Chinese painting. It should also cause us to think about the development of modern and contemporary figure painting. For foreign cultural factors, how do we absorb the beneficial things. Behind the prosperity and development of contemporary meticulous figure painting, we look at the return of traditional Chinese figure painting, revival and future development. This article starts with the unique planarity of the Chinese figure painting modeling view, which is the basic feature of Chinese painting. It is the fundamental difference from western painting and the unique style and artistic conception of Chinese painting. Take the portrait painting of Ming Dynasty as an example to analyze the development and change of planarity in the historical process. Through the study and analysis of the portraits of the Ming Dynasty, this paper expounds his understanding of the planarity of the portraits of the Ming Dynasty, and leads to the thinking of the development of the Chinese fine brushwork figure painting in this paper.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前4條

1 單國(guó)強(qiáng);肖像畫(huà)歷史概述[J];故宮博物院院刊;1997年02期

2 宋曉霞;;論工筆人物畫(huà)的畫(huà)體特征及其在現(xiàn)代發(fā)展的可能[J];國(guó)畫(huà)家;1997年06期

3 殷雙喜;圖像時(shí)代的肖像[J];美術(shù)研究;1999年03期

4 郭子瑤;;人物造型的時(shí)代特點(diǎn)探析[J];美術(shù)教育研究;2012年21期

相關(guān)博士學(xué)位論文 前1條

1 盧曉峰;中國(guó)人物畫(huà)面部圖式類(lèi)型與技法研究[D];中國(guó)美術(shù)學(xué)院;2010年

，

本文編號(hào)：1449132