本文關(guān)鍵詞： 丁中一 水墨人物畫 光影素描　出處：《河南大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：丁中一先生自幼酷愛(ài)繪畫，，9歲執(zhí)筆作畫，14歲便創(chuàng)作發(fā)表了連環(huán)畫《團(tuán)隊(duì)的旗幟》，是我國(guó)當(dāng)代著名的水墨人物畫家。1960年畢業(yè)于浙江美術(shù)學(xué)院（現(xiàn)中國(guó)美院）中國(guó)畫系，同年赴河南工作至今。現(xiàn)為河南大學(xué)藝術(shù)學(xué)院教授，碩士生導(dǎo)師、中國(guó)美協(xié)會(huì)員、原河南美術(shù)家協(xié)副主席、省文聯(lián)委員、現(xiàn)為省文史館館員、河南省優(yōu)秀專家等。并曾出席全國(guó)第七、八次文代會(huì)及全國(guó)第六次美術(shù)家代表大會(huì)。他的作品獨(dú)具風(fēng)格，畫面精簡(jiǎn)卻意境深遠(yuǎn)，在具象寫實(shí)的光影素描式的外表下卻隱藏著中國(guó)傳統(tǒng)水墨人物畫的精髓，看似西方繪畫的外表下實(shí)則包裹著傳統(tǒng)文人畫的內(nèi)涵。 丁中一先生的新法水墨人物畫在當(dāng)今中國(guó)水墨人物畫畫壇具有很大的影響力，并且丁中一先生先前的水墨人物畫面貌形成的過(guò)程與整個(gè)中國(guó)水墨人物畫壇面貌的轉(zhuǎn)變大體上是相一致的，所以研究丁先生水墨人物畫不僅可以了解當(dāng)代中國(guó)水墨人物畫的發(fā)展概況而且還可以通過(guò)對(duì)丁中一先生的新法水墨人物畫的研究總結(jié)出光影素描對(duì)人物畫的重要影響，因此，對(duì)丁中一先生水墨人物畫的研究是一個(gè)很有價(jià)值的個(gè)案。 丁先生對(duì)水墨人物畫的探索和突破對(duì)于中國(guó)水墨人物畫的發(fā)展起到了探索創(chuàng)新的推動(dòng)作用。時(shí)下中國(guó)水墨人物畫呈現(xiàn)出多元化的發(fā)展方向，然社會(huì)上一些聲音卻是復(fù)古風(fēng)勁吹，這實(shí)則對(duì)寫實(shí)性水墨人物畫的發(fā)展來(lái)說(shuō)并不適合，本文首先通過(guò)對(duì)丁中一先生新法水墨人物畫的發(fā)展歷程和他的水墨人物畫特點(diǎn)以及形成原因進(jìn)行歸納整理，得出光影素描對(duì)丁中一先生水墨人物畫的具體影響，其中包括對(duì)創(chuàng)作理念、觀察方法、“線”的提煉、畫面節(jié)奏以及對(duì)繪畫風(fēng)格等方面的影響，從而論證光影素描對(duì)他的新水墨人物畫形成的重要性。其次，將丁中一先生水墨人物畫作品分別與蔣兆和先生的作品、楊之光先生的作品、方增先先生的作品以及劉文西先生的作品一一進(jìn)行比較研究，歸納總結(jié)他們之間的異同，將其客觀系統(tǒng)的分析，研究得出丁中一先生新作的代表性與典型性，進(jìn)而論證光影素描對(duì)水墨人物畫的重要性以及丁中一先生的新水墨人物畫作品對(duì)中國(guó)水墨人物畫發(fā)展帶來(lái)的影響與啟示意義。 本文有望通過(guò)對(duì)丁中一先生水墨人物畫的分析，總結(jié)丁先生在于中西繪畫語(yǔ)言融合上的突破與創(chuàng)新，以論證光影素描對(duì)于水墨人物畫的重要作用，從而為中國(guó)水墨人物畫的發(fā)展提供可以借鑒與思考的方向。
[Abstract]:Mr. Ding Zhongyi, who has loved painting since he was 9 years old, has written and painted since he was 14 years old. He was a famous contemporary Chinese character painter in China. In 1960, he graduated from the Department of Chinese painting of Zhejiang Academy of Fine Arts (now the Chinese Academy of Fine Arts). He has been working in Henan since the same year. He is a professor of the College of Art, Henan University, a tutor for master students, a member of the China Art Association, a former vice chairman of Henan artists' Association, a member of the Provincial Federation of Literature and Art, and now a librarian of the Provincial Museum of Literature and History. He has attended the 7th, eight cultural dynasties and 6th national artists' congresses. His works are of unique style, but their pictures are concise but their artistic conception is profound. The essence of Chinese traditional ink figure painting is hidden under the realistic light and shadow sketch, but the connotation of traditional literati painting is wrapped under the appearance of western painting. Mr. Ding Zhongyi's new law and ink figure painting has a great influence on the contemporary Chinese ink figure painting world. Moreover, the process of the formation of Mr. Ding Zhongyi's previous wash and ink figure painting appearance is basically consistent with the change in the face of the whole Chinese ink painting world. Therefore, the study of Mr. Ding ink figure painting can not only understand the development of contemporary Chinese ink figure painting, but also sum up the important influence of light and shadow sketch on figure painting through the study of Mr. Ding Zhongyi's new method. The study of Mr. Ding Zhongyi's ink figure painting is a valuable case. Mr. Ding's exploration and breakthrough of Chinese ink figure painting has played an important role in exploring and innovating the development of Chinese ink figure painting. However, some voices in the society are blowing with the wind of retro times, which is not suitable for the development of realistic ink and wash figure painting. In this paper, first of all, through the development of Mr. Ding Zhongyi's new law ink figure painting, the characteristics of his ink figure painting and the reasons for its formation are summarized and arranged, and the concrete influence of light and shadow sketch on Mr. Ding Zhongyi's ink figure painting is obtained. This includes the refining of creative ideas, observation methods, "lines", the rhythm of the picture and the style of painting, thus demonstrating the importance of light and shadow sketching to the formation of his new ink figure painting. Secondly, Comparing the works of Mr. Ding Zhongyi with those of Mr. Jiang Zhaohe, Mr. Yang Zhiguang, Mr. Fang Zengxian and Mr. Liu Wenxi, respectively, to sum up the similarities and differences between them. Through the objective and systematic analysis, we can find out the representativeness and typicality of Mr. Ding Zhongyi's new work. And then demonstrates the importance of light and shadow sketch to the ink figure painting and the influence and enlightenment significance of the new ink figure painting works of Mr. Ding Zhongyi on the development of the Chinese ink figure painting. This paper is expected to sum up the breakthrough and innovation in the integration of Chinese and Western painting languages through the analysis of Mr. Ding Zhongyi's ink and wash figure painting, in order to demonstrate the important role of light and shadow sketch in the ink figure painting. Thus for the development of Chinese ink figure painting can be used for reference and thinking direction.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J205

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