本文選題：地域性　切入點：審美意識　出處：《首都師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：從整個中國繪畫發(fā)展的歷史角度來看,地域性繪畫差異是始終貫穿在中國繪畫脈絡(luò)中的,無論是山水畫、還是人物畫或花鳥畫從歷代所留下的傳世佳作中都可以分別從題材傾向、造型手段、表現(xiàn)語言上了解到地域差異下所具有的東方情感的民族文化精髓。站在地域文化差異的視角上審視中國繪畫發(fā)展的內(nèi)在特征,地域性對中國繪畫面貌的形成的影響也是由來已久,在中國畫史的研究過程中國畫的地域性研究一直有著重要的位置,地域差異也是藝術(shù)家創(chuàng)作的精神源泉之一,藝術(shù)家在他們的作品中自覺不自覺地表現(xiàn)出地域性的要素。在中國人物畫創(chuàng)作的過程中,一個時代有一個時代的發(fā)展軌跡,同一時代又有地域性的區(qū)別。地域性及其文化氛圍深刻影響著畫家及其作品中的審美取向和風(fēng)格追求。中國人物畫其風(fēng)格形成也偏重于畫家個人的氣質(zhì),這也與其厚實的生活沉淀以及一定的地域環(huán)境有關(guān),是畫家在積累真實生活感悟的基礎(chǔ)上尋找到的新藝術(shù)表現(xiàn)形式。 本文中提及的東北地區(qū)中國畫創(chuàng)作語言及其表現(xiàn)形式,是在白山黑水的北方環(huán)境下,近代繪畫家集體流露出的北方人們的情感世界與審美追求,是獨特的自然環(huán)境的侵染和特有的人文傳統(tǒng)的滋養(yǎng)下的面貌。這種群體特征中不乏個體的另類獨特與多樣,但較之南方溫潤的自然環(huán)境、委婉的人文性格特征依然顯出北方特有的凜冽與悲亢。建國以來東北中國畫的發(fā)展雖有注重寫實,重大敘事的偏重,但在畫面的藝術(shù)語言的表現(xiàn)上不得不說是獨樹一幟的。這種在藝術(shù)語言上體現(xiàn)出的創(chuàng)造性是繪畫藝術(shù)的真正果實。在當(dāng)下中國畫的觀念轉(zhuǎn)變和如何增強(qiáng)綜合材料的應(yīng)用表現(xiàn)力上看地域性文化下產(chǎn)生的繪畫語言特征是值得我們爭論和研究的課題。 本文最后提出個人對東北地區(qū)中國人物畫藝術(shù)面貌的體會和認(rèn)識,如果太局限“自我”狀態(tài),民族藝術(shù)必然將走入狹小的境地。但認(rèn)識到自我的民族性,地域性,才可談你的世界性。作為現(xiàn)當(dāng)代的藝術(shù)院校學(xué)生,應(yīng)該站在傳統(tǒng)文化與此刻所處的多元化環(huán)境中去觀察和認(rèn)識當(dāng)下。地域性差異下的繪畫面貌不僅是中國畫形式語言的美感體現(xiàn),也是中國畫所具有的人文精神的載體,對我們年青一代認(rèn)識本土文化和藝術(shù)具有極其重要的價值與存在意義。
[Abstract]:From the historical point of view of the development of Chinese painting, regional painting differences are always running through the context of Chinese painting, whether landscape painting, Or figure painting or flower-and-bird painting from the past dynasties left behind in the best works can be from the theme of the trend, modeling means, From the perspective of regional cultural differences, the author examines the internal characteristics of the development of Chinese painting. The influence of regionalism on the appearance of Chinese painting has a long history. In the research process of Chinese painting history, the regional study of Chinese painting has always played an important role, and regional differences are also one of the spiritual sources of artists' creation. Artists consciously and unconsciously express regional elements in their works. In the process of Chinese figure painting creation, an era has the development track of an era. At the same time, there are regional differences. The regional nature and its cultural atmosphere deeply influence the aesthetic orientation and style pursuit in the painters and their works. The formation of the style of Chinese figure painting also emphasizes the individual temperament of the painters. This is also related to its thick life precipitation and a certain regional environment, which is a new artistic expression form which the painters seek on the basis of the accumulation of real life perception. The language of Chinese painting in Northeast China and its forms of expression mentioned in this paper are the emotional world and aesthetic pursuit of people in the north, which were revealed by modern painters in the environment of white mountains and black waters. It is a unique natural environment and a unique humanistic tradition under the nourishment of the face. This group of characteristics not lack of individual alternative unique and diverse, but compared to the southern gentle natural environment, The euphemistic characteristics of human character still show the briskness and sadness peculiar to the north. Although the development of Chinese painting in Northeast China since the founding of the people's Republic of China has paid attention to realism, the important narration is biased. However, it has to be said to be unique in the expression of the artistic language of the picture. The creativity embodied in the artistic language is the true fruit of the art of painting. At present, the concept of Chinese painting has changed and how to strengthen the comprehensive materials. From the point of view of regional culture, the characteristics of painting language are worthy of discussion and study. At the end of this paper, the author puts forward the personal experience and understanding of the Chinese figure painting art in Northeast China. If the state of "self" is too limited, the national art will inevitably go into a narrow situation. To talk about your cosmopolitan. As a contemporary art college student, Should stand in the traditional culture and the pluralistic environment of the moment to observe and understand the present. The face of painting under regional differences is not only the aesthetic embodiment of the formal language of Chinese painting, but also the carrier of the humanistic spirit of Chinese painting. It is of great value and significance for our younger generation to understand native culture and art.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 孟憲平;;地域因素與畫分南北[J];齊魯藝苑;2008年01期

2 藍(lán)勇;從天地生綜合研究角度看中華文明東移南遷的原因[J];學(xué)術(shù)研究;1995年06期

相關(guān)博士學(xué)位論文 前1條

1 趙振宇;中國繪畫地理態(tài)勢與演進(jìn)[D];中國藝術(shù)研究院;2013年

，

本文編號：1562857