本文關(guān)鍵詞： 林風(fēng)眠 戲曲人物畫 藝術(shù)特色　出處：《鄭州大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：中國進(jìn)入20世紀(jì)以后,伴隨著國門敞開的西方新思潮新文化不斷涌入,推動(dòng)著近現(xiàn)代中國文化的變革,而作為近現(xiàn)代中國文化之一部分的中國現(xiàn)代美術(shù)自然也不得“獨(dú)善其身”,改革之路勢(shì)在必行。林風(fēng)眠作為20世紀(jì)中國美術(shù)的藝術(shù)先驅(qū),倡導(dǎo)并實(shí)踐著中西融合的藝術(shù)之路,對(duì)現(xiàn)代美術(shù)發(fā)展有著極大的貢獻(xiàn)。文章主要論述留法歸來的林風(fēng)眠“中西融合”的戲曲人物畫的藝術(shù)特色,其在“中學(xué)為體,西學(xué)為用”的方針指導(dǎo)下,注重中國傳統(tǒng)文化精神,同時(shí)借鑒西方繪畫語言形式,以戲曲人物畫為載體賦予中國畫以全新的審美感受,形成了富有特色的戲曲人物畫藝術(shù)。論文介紹了林風(fēng)眠戲曲人物畫的創(chuàng)作歷程,分別從重慶時(shí)期、上海時(shí)期、香港時(shí)期三個(gè)時(shí)期進(jìn)行梳理與總結(jié),體現(xiàn)了其“中西融合”的繪畫技法和理念不斷發(fā)展成熟的過程。文章重點(diǎn)論述了林風(fēng)眠戲曲人物畫的藝術(shù)特色內(nèi)容,主要分為三個(gè)方面進(jìn)行了闡述。首先體現(xiàn)在林風(fēng)眠戲曲人物畫獨(dú)特的繪畫藝術(shù)語言方面,從構(gòu)圖形制、線條、人物造型等因素進(jìn)行了分析;其次表現(xiàn)在中國文人寫意情懷與西方表現(xiàn)主義的融合方面,林風(fēng)眠在創(chuàng)作時(shí)把握住了中國文化精神,努力尋到中西繪畫在哲學(xué)、審美、藝術(shù)觀念等方面的結(jié)合點(diǎn)并尋找到切合自己的風(fēng)格、模式和語匯。最后,體現(xiàn)其個(gè)性化的筆墨觀方面,林風(fēng)眠并沒有拋棄筆墨,只是在用筆方面舍棄了以書法用筆為核心的傳統(tǒng)筆墨規(guī)范,而在廣泛中國其他傳統(tǒng)藝術(shù)精華的基礎(chǔ)上創(chuàng)造了新的用筆方式。當(dāng)今人物畫的發(fā)展面貌豐富而多樣,而解決寫實(shí)造型與寫意筆墨之間的矛盾仍是現(xiàn)代寫意人物畫的發(fā)展道路上不可規(guī)避的難題,林風(fēng)眠的戲曲人物畫對(duì)于當(dāng)代人物畫的發(fā)展仍具有重要的指導(dǎo)意義。
[Abstract]:After China entered 20th century, with the new western trend of thought and new culture coming in with the opening of the country, it promoted the transformation of Chinese culture in modern times. As a part of modern Chinese culture, modern Chinese art can not be "alone", and the road of reform is imperative. In 20th century, Lin Fengmian, as an art pioneer of Chinese art, advocated and practiced the road of combining Chinese and Western arts. It is a great contribution to the development of modern art. This article mainly discusses the artistic characteristics of the traditional Chinese figure painting of Lin Feng-mian 's "the combination of Chinese and Western", which is guided by the policy of "middle school is the body and western learning is the use". Pay attention to the spirit of Chinese traditional culture, at the same time draw lessons from the western painting language form, with traditional Chinese figure painting as the carrier to endow Chinese painting with a new aesthetic feeling, This paper introduces the creation process of Lin Fengmian's figure painting, which is summarized from three periods: Chongqing period, Shanghai period, Hong Kong period. It reflects the process of the continuous development and maturity of his painting techniques and ideas of "the fusion of China and the West". The article focuses on the artistic characteristics of Lin Fengmian's figure painting. It is mainly divided into three aspects. Firstly, it is embodied in the unique artistic language of Lin Fengmian's figure painting, and analyzes the factors such as composition, line, figure modeling and so on. Secondly, in the fusion of Chinese literati's feelings of freehand brushwork and Western expressionism, Lin Fengmian grasped the spirit of Chinese culture and tried to find out the philosophy and aesthetics of Chinese and Western paintings. Finally, Lin Fengmian did not abandon pen and ink, which reflected his individualized view of pen and ink, and found his own style, mode and vocabulary. It is only in the aspect of using the pen that the traditional brush and ink standard, which is the core of calligraphy, has been abandoned, and a new way of using the brush has been created on the basis of a wide range of traditional Chinese art essences. Today, the development of figure painting is rich and diverse. Solving the contradiction between realistic modeling and freehand brushwork is still a difficult problem in the development of modern freehand brushwork painting. Lin Fengmian's traditional Chinese figure painting still has important guiding significance for the development of contemporary figure painting.
【學(xué)位授予單位】：鄭州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

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