本文關(guān)鍵詞： 太行山題材 當(dāng)代山水畫 藝術(shù)傳統(tǒng) 現(xiàn)代精神　出處：《中國藝術(shù)研究院》2017年博士論文　論文類型：學(xué)位論文

【摘要】：新中國成立后提倡的“改造中國畫”讓畫家走到大自然和生活中去觀察和感受,尋找創(chuàng)作的題材,這是新時期以來一直被提倡的創(chuàng)作態(tài)度,大部分畫家也是這么做的。論文對太行山題材的當(dāng)代山水畫創(chuàng)作進(jìn)行了梳理對比,對主要代表畫家及作品進(jìn)行分析研究,努力發(fā)現(xiàn)一些創(chuàng)作的規(guī)律。區(qū)域特點(diǎn)是太行山題材山水畫創(chuàng)作的一個重要特征,尤其是厚重的山體和具有獨(dú)特紋理特征的山石表是太行山山水畫特點(diǎn)之一。近30年來以太行山為題材的當(dāng)代山水畫創(chuàng)作越來越為人們關(guān)注,成為新時期以來山水畫創(chuàng)作的一個現(xiàn)象。作品中體現(xiàn)的不僅是客觀的太行山,更有畫家的情感和精神的流露和呈現(xiàn)。表現(xiàn)太行的山水畫作品都有一個共同的特點(diǎn):雄渾厚重、威嚴(yán)峭拔,對北派山水畫應(yīng)該是一個補(bǔ)充。太行山題材當(dāng)代山水畫的創(chuàng)作離不開傳統(tǒng),畫家對傳統(tǒng)文化的讀析是創(chuàng)作過程中精神升華的基礎(chǔ),作品創(chuàng)作是在傳統(tǒng)基礎(chǔ)上的發(fā)展和探索。太行山山水畫創(chuàng)作不只是客觀的再現(xiàn)景物,而且是對自然有了深刻了解之后的二次認(rèn)識自然,是把內(nèi)心情感賦予物象的一種表現(xiàn),體現(xiàn)了畫家的思想活動,最終是以太行山為載體的一種精神表現(xiàn)。對傳統(tǒng)山水畫的研習(xí),是創(chuàng)作的基石,“一手伸向生活,一手伸向傳統(tǒng)”是畫家進(jìn)行創(chuàng)作的一個共識,傳統(tǒng)技法和表現(xiàn)方式是太行山題材山水畫創(chuàng)作很好的學(xué)習(xí)和借鑒。對山水畫發(fā)展史的研究對太行山題材的當(dāng)代山水創(chuàng)作也很有益,可以認(rèn)識時代性在作品中的表現(xiàn),把握創(chuàng)作中的時代特征表現(xiàn)。論文通過對畫家作品的對比分析發(fā)現(xiàn),太行山題材的山水畫總是含有一種向上的精神,一種民族的精神,這也是把解放戰(zhàn)爭與太行山聯(lián)系在一起的創(chuàng)作緣由吧。另外太行山本身的構(gòu)造呈現(xiàn)出雄渾、樸實(shí)的特點(diǎn),畫家在太行山題材的創(chuàng)作中也是以此為依據(jù),在用筆用墨以及表現(xiàn)形式等方面以此特征為基礎(chǔ),來表達(dá)一種思想和精神。太行山題材當(dāng)代山水畫作為新時期以來大量出現(xiàn)的藝術(shù)題材繪畫,大有發(fā)展的空間,同時也有局限性,這也是藝術(shù)發(fā)展的規(guī)律。本文通過對比,分析研究了三位代表畫家的作品及藝術(shù)特征,試圖找尋太行山題材當(dāng)代山水畫的發(fā)展與文化背景、與時代發(fā)展的關(guān)聯(lián),希望對太行山題材當(dāng)代山水畫的創(chuàng)作研究有所啟發(fā)。
[Abstract]:The "reform of Chinese painting" advocated after the founding of New China allowed painters to go to nature and life to observe and feel, to find the subject matter of creation. This is a creative attitude that has been advocated since the new era. Most of the painters do the same. The thesis combs and compares the contemporary landscape paintings of Taihang Mountain, and analyzes and studies the main representative painters and their works. Try to find some laws of creation. Regional characteristics are an important feature of the creation of Taihang Mountain landscape painting. In particular, the thick mountain body and the stone table with unique texture features are one of the characteristics of Taihang Mountain landscape painting. In the past 30 years, people pay more and more attention to the creation of contemporary landscape painting with Taihang Mountain as its theme. It has become a phenomenon of landscape painting creation in the new period. The works not only reflect the objective Taihang Mountains, but also show the emotion and spirit of the painters. It should be a supplement to the northern school of landscape painting. The creation of contemporary landscape paintings with Taihang Mountain theme can not be separated from tradition. The painter's reading and analysis of traditional culture is the basis for spiritual sublimation in the process of creation. The creation of works is based on the development and exploration of tradition. The creation of landscape paintings in Taihang Mountain is not only an objective representation of scenery, but also a second understanding of nature after a deep understanding of nature, and an expression of giving the inner feelings to objects. The study of traditional landscape painting is the cornerstone of creation. "one hand to life, the other to tradition" is a common understanding of painter's creation. Traditional techniques and ways of expression are very good learning and reference for the creation of Taihang Mountain landscape painting. The research on the history of landscape painting development is also very beneficial to the contemporary landscape creation of Taihang Mountain theme, and we can understand the performance of the times in the works. Through the comparative analysis of the painters' works, it is found that the landscape paintings of Taihang Mountain always contain an upward spirit and a national spirit. This is also the reason for the creation of the War of Liberation and the Taihang Mountains. In addition, the structure of the Taihang Mountain itself presents a strong and simple character, which is also the basis for the painter's creation of the Taihang Mountain theme. On the basis of this characteristic of pen and ink and its form of expression, we can express a kind of thought and spirit. As a large number of art paintings of Taihang Mountain, there is much room for development. At the same time, there are limitations, which is also the law of art development. Through comparison, this paper analyzes the works and artistic characteristics of three representative painters, and tries to find out the development and cultural background of contemporary landscape paintings with Taihang Mountain theme. With the development of the times, hope to Taihang Mountain theme of contemporary landscape painting creative research inspired.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J212

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 鮑爾吉·原野;;財(cái)富離幸福仍然很遠(yuǎn)[J];財(cái)政與發(fā)展;2005年04期

2 巴牧;;太行山區(qū)在躍進(jìn)[J];詩刊;1958年03期

3 ;太行山區(qū)《鬧書院》晉京演出[J];劇本;1990年11期

4 ;山西省人民委員會印發(fā)康丕烈同志“關(guān)于參加太行山區(qū)農(nóng)田基本建設(shè)現(xiàn)場會議的報(bào)告”的通知[J];山西政報(bào);1965年Z2期

5 劉潔;何然;;抗戰(zhàn)時期太行山區(qū)婦女勞動力的開發(fā)及成效[J];山西檔案;2014年03期

6 吳海斌;;黎城[J];詩選刊(下半月);2008年06期

7 何申;;套話、無言與問責(zé)[J];雜文月刊(選刊版);2009年10期

8 杜廣云;五龍洞[J];河南林業(yè);2002年02期

9 沷生;志德;振，

本文編號：1550879