發(fā)布時間：2018-02-27 09:26

  本文關(guān)鍵詞： 近代文人畫 西方現(xiàn)代派繪畫 比較研究　出處：《浙江理工大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：19世紀(jì)末20世紀(jì)初，中國處于內(nèi)憂外患的歷史時期。文人畫作為中國繪畫的典型形態(tài)發(fā)展到此時被激進的有識之士一陣口誅筆伐。正當(dāng)傳統(tǒng)文人畫似要步入窮途之時，新一代文人畫家繼承并發(fā)揚了這一傳統(tǒng)，鍥而不舍地追求“帶有文人之性質(zhì)”的近代文人畫。與此同時，在歐洲畫壇孕育的巨大變革也隨著新世紀(jì)的到來席卷了整個西方社會�，F(xiàn)代派繪畫以偏離傳統(tǒng)寫實風(fēng)格的形態(tài)，宣示了畫家主觀精神的決定性作用。歐洲畫家們再也不滿足于重現(xiàn)客觀對象，并將繪畫拉回到真正屬于它的基本形態(tài)。 中國近代文人畫與歐洲現(xiàn)代派繪畫大致處于同一時期，也似乎頗許有多相似的藝術(shù)理念和創(chuàng)作態(tài)度。但作為根植于不同文化背景的繪畫，兩者也存在明顯差異。這樣看來它們之間的比較研究就顯得必要且順應(yīng)時代了。本論文以一個繪畫實踐者的角度來對二者進行比較研究，從中國近代文人畫和歐洲現(xiàn)代派繪畫各自的題材、構(gòu)圖、造型、色彩入手，并結(jié)合二者的自然觀念、傳統(tǒng)觀念、審美感受和畫家群體等多個角度進行比較。與逆向?qū)ξ皇窖芯恳越Y(jié)論為先的方法不同，本文避免采用武斷概括的結(jié)論使研究偏離正規(guī)，而從繪畫實踐者最為關(guān)注的問題入手，使研究緊扣實踐，進而防止空洞的理論羅列。 本文以中國近代文人畫和歐洲現(xiàn)代派繪畫的比較為研究重點，，分為以下四個部分：緒論部分，重點介紹本文的研究目的與意義，文章涉及的相關(guān)概念及該領(lǐng)域的研究現(xiàn)狀；第一章，論述1840年至1949年間中國文人畫的存在狀況，概述期間關(guān)于文人畫的爭論；第二章，論述歐洲現(xiàn)代派繪畫的發(fā)展情況和它產(chǎn)生的淵源；第三章為本論文的重點，在前兩章的基礎(chǔ)上分別從繪畫的題材、自然觀念、構(gòu)圖語言、用筆、色彩語言、造型語言、審美感受以及畫家群體特征這些方面進行深入的異同比較研究。筆者從以上研究得出結(jié)論：中國近代文人畫與歐洲現(xiàn)代派繪畫產(chǎn)生于各自不同的文化體系，沒有孰優(yōu)孰劣的高低之分，既不能孤芳自賞，對外來藝術(shù)全盤否定；也不能全盤西化，無視中國畫本身的意蘊。
[Abstract]:At the end of 19th century and the beginning of 20th century, China was in a historical period of internal and external troubles. Literati painting, as a typical form of Chinese painting, developed until it was criticized and written by radical people of insight. Just as traditional literati paintings seemed to be on their way to poverty, The new generation of literati painters inherited and carried forward this tradition and persevered in the pursuit of "literati nature" of modern literati painting. With the arrival of the new century, the great changes in European painting have swept the whole western society. Modern painting deviates from the form of traditional realistic style. European painters are no longer satisfied with reproducing objective objects and drawing painting back to its true basic form. Chinese modern literati painting and European modernist painting are roughly in the same period, and it seems that there are some similar artistic ideas and creative attitudes. But as a painting rooted in different cultural backgrounds, There is also a clear difference between the two. It seems that the comparative study between them is necessary and in line with the times. This paper makes a comparative study of the two from the perspective of a painting practitioner. Starting with the subject matter, composition, modeling and color of Chinese modern literati painting and European modernist painting, and combining their natural concepts and traditional concepts, Different from the reverse contrastive approach, which is based on the conclusion first, this paper avoids the arbitrary conclusion to make the research deviate from the normal, and starts with the problems that the painting practitioners pay most attention to. Make the research close to practice, and then prevent empty theory list. This paper focuses on the comparison between modern Chinese literati painting and European modernist painting, which is divided into the following four parts: the introduction part, focusing on the purpose and significance of this study, the related concepts involved in the article and the current research situation in this field; The first chapter discusses the existence of Chinese literati painting from 1840 to 1949, summarizes the controversy about literati painting during the period; the second chapter discusses the development of European modernist painting and its origin; the third chapter is the focus of this paper. On the basis of the first two chapters, from the painting subject matter, the concept of nature, the composition language, the pen, the color language, the modelling language, The author draws a conclusion from the above research that Chinese modern literati painting and European modernist painting originated from different cultural systems. There is no difference between the superior and the inferior. Neither can we completely deny the foreign art, nor can we completely westernize and ignore the implication of Chinese painting itself.
【學(xué)位授予單位】：浙江理工大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J209.1

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本文編號：1542091