本文關(guān)鍵詞： 十七年 水墨人物畫(huà) 寫(xiě)實(shí) 筆墨 圖式　出處：《廣州大學(xué)》2013年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：新中國(guó)“十七年”時(shí)期是20世紀(jì)中國(guó)畫(huà)演進(jìn)的重要一個(gè)階段，它既延續(xù)了20世紀(jì)以來(lái)中國(guó)畫(huà)革新的歷史潮流，又浸淫在特定的時(shí)代政治的背景中。水墨人物畫(huà)在這一場(chǎng)被稱為“新國(guó)畫(huà)運(yùn)動(dòng)”的中國(guó)畫(huà)演變過(guò)程中獲得了極大的發(fā)展，在“中西融合”方式對(duì)中國(guó)畫(huà)改革的介入，深厚而悠久的水墨傳統(tǒng)形成的筆墨感覺(jué)以及在面對(duì)深入生活、表現(xiàn)新人和新事物的時(shí)代要求下，以現(xiàn)實(shí)主義創(chuàng)作為特征的寫(xiě)實(shí)水墨人物畫(huà)出現(xiàn)了繁興，成為代表這一時(shí)期水墨人物畫(huà)創(chuàng)作的最具代表性成就。 縱觀中國(guó)人物畫(huà)的演進(jìn)歷程，其創(chuàng)作的盛衰歷來(lái)都是與時(shí)代政治的潮汐漲落密切相關(guān)的，而這一關(guān)聯(lián)在“十七年”時(shí)期體現(xiàn)得尤為顯著。因此，要研究這一時(shí)期呈現(xiàn)“百花齊放”的水墨人物畫(huà)，不僅要將其置身于20世紀(jì)的中國(guó)畫(huà)筆墨圖式發(fā)展這一守護(hù)與拓進(jìn)的演變過(guò)程，還要充分考察其所處的時(shí)代特征和政治訴求的諸方因素，唯有這樣才能做出客觀而全面的評(píng)價(jià)。 本文以新中國(guó)“十七年”時(shí)期水墨人物畫(huà)為研究對(duì)象，根據(jù)這一時(shí)期水墨人物畫(huà)創(chuàng)作的總體體征，把研究的重點(diǎn)定位在寫(xiě)實(shí)水墨人物畫(huà)筆墨革新與圖式風(fēng)格的研究上。文章運(yùn)用文獻(xiàn)研究、社會(huì)學(xué)研究、圖像學(xué)研究、個(gè)案研究等方法，把寫(xiě)實(shí)水墨人物畫(huà)的筆墨革新和圖式風(fēng)格的問(wèn)題研究置于20世紀(jì)以來(lái)中國(guó)演進(jìn)歷程的坐標(biāo)體系中，，結(jié)合“十七年”時(shí)期這一特定的時(shí)代語(yǔ)境與政治文化背景，探明“十七年”時(shí)期人物畫(huà)筆墨語(yǔ)言及圖像樣式嬗變的緣起與基本狀況，深入論述“十七年”時(shí)期寫(xiě)實(shí)水墨人物畫(huà)創(chuàng)作及表現(xiàn)規(guī)律的探索，筆墨新變與圖式風(fēng)格的形成，全面闡述新中國(guó)“十七年”時(shí)期寫(xiě)實(shí)水墨人物畫(huà)繁興的成因及具體表現(xiàn)，并分別就“十七年”時(shí)期寫(xiě)實(shí)水墨人物畫(huà)的成就、局限以及對(duì)后世人物畫(huà)的影響進(jìn)行闡述，在20世紀(jì)人物畫(huà)的發(fā)展演進(jìn)歷史進(jìn)程的坐標(biāo)體系中較為全面的評(píng)價(jià)了“十七年”時(shí)期這一特定時(shí)代語(yǔ)境中水墨人物畫(huà)的歷史地位及對(duì)后世發(fā)展的影響，以期為寫(xiě)實(shí)水墨人物畫(huà)的整體性研究做出一定的學(xué)術(shù)鋪墊。
[Abstract]:The period of "seventeen years" in New China is an important stage in the evolution of Chinese painting in 20th century. It not only continues the historical trend of innovation in Chinese painting since 20th century, Also immersed in the political background of a specific era. Ink figure painting in this "new Chinese painting movement" in the evolution of the process of Chinese painting has been greatly developed, in the "Chinese and Western integration" mode of Chinese painting reform intervention, In the face of the deep and long tradition of ink painting, the realistic ink figure painting, which is characterized by realistic creation, has become more and more popular in the face of the deep life, the new people and the new things in the face of the requirements of the times. To represent this period of ink figure painting creation of the most representative achievement. Throughout the evolution of Chinese figure painting, the ups and downs of its creation have always been closely related to the tide and fluctuation of the politics of the times, which is especially evident in the period of "seventeen years". In order to study the ink and wash figure painting in this period, we should not only place it in the evolution process of the development of stroke and ink schema of Chinese painting in 20th century. Only in this way can an objective and comprehensive evaluation be made. This article takes the ink figure painting of the new China "17 years" period as the research object, according to the general sign of the creation of the ink figure painting of this period, The emphasis of the research is on the innovation of realistic ink painting and the study of schema style. This paper uses the methods of literature research, sociology research, image study, case study and so on. This paper puts the research on the innovation of realistic ink painting and the study of the pattern style in the coordinate system of the evolution of China since 20th century, combining with the specific context of the times and political and cultural background of the period of "seventeen years". To find out the origin and basic condition of the evolution of painting language and image style in the period of "seventeen years", to discuss deeply the creation and expression law of realistic ink figure painting in the period of "seventeen years", the new changes of strokes and ink and the formation of schematic style. This paper comprehensively expounds the causes and concrete performance of the profusion of realistic ink figure painting in the "seventeen years" period of New China, and respectively expounds the achievements, limitations and influence on the figure painting of later generations in the period of "seventeen years". In 20th century, in the coordinate system of the historical process of the development and evolution of the figure painting, the author comprehensively evaluates the historical position of the ink figure painting in the context of the specific era of "seventeen years" and its influence on the development of later generations. With a view to realistic ink figure painting for the integrity of the study to make a certain academic groundwork.
【學(xué)位授予單位】：廣州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J212;J209.2

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