本文選題：“文革”時期　切入點：中國水墨人物畫　出處：《首都師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：本文試圖從繪畫構(gòu)圖的角度去分析“文革”時期具有代表性的132幅1中國水墨人物畫作品,進(jìn)而總結(jié)出這一時期的中國水墨人物畫的構(gòu)圖特點及所用到的方法。如此,我們對“文革”時期的中國水墨人物繪畫會有一個更深入的了解。同時,一些涉及“文革”繪畫構(gòu)圖內(nèi)容的專著和論文中一般用“用一切手段突出中心人物”和“把主要人物放在顯著位置”等詞語描述中心人物的構(gòu)圖特點,但對語句中的“一切手段”和“顯著位置”沒有解釋清楚或正確。通過本論文的研究,對這些概略而籠統(tǒng)的詞從構(gòu)圖學(xué)的角度作了一個比較詳細(xì)的解釋。 本文的第一部分分析了“文革”時期的社會環(huán)境對中國水墨人物畫創(chuàng)作的影響主要表現(xiàn)在三個方面：第一,在創(chuàng)作的主題和題材上有限制；第二,在創(chuàng)作方法上有要求；第三,觀眾的審美要求對創(chuàng)作影響很大。 第二部分從構(gòu)圖學(xué)的角度對具有代表性的作品進(jìn)行了分析歸納,總結(jié)出了文革時期中國水墨人物畫構(gòu)圖常用的構(gòu)圖形式和物象處理方法,并以《礦山新兵》和《延安新春》為例,綜合分析了這兩幅作品的構(gòu)圖方法。 第三部分是對全文的一個總結(jié)�！拔母铩睍r期的中國水墨人物畫在構(gòu)圖上主要運用了畫面中線、“井”字形、開合、圓形、三角形、團(tuán)塊、仰視、各種對比、藏露和視覺引導(dǎo)等構(gòu)圖方法突出中心人物、塑造中心人物形象和制造畫面穩(wěn)定感,且在構(gòu)圖方法的運用上顯得非常直白、概念和程式化。通過分析也得知,畫面中心人物所處的“顯著位置”不是一成不變的,它可在畫面中心位置,也可在畫面靠邊的位置。
[Abstract]:This paper attempts to analyze 132 representative Chinese ink figure paintings from the angle of painting composition during the Cultural Revolution, and then summarize the composition characteristics and the methods used in this period. We will have a deeper understanding of Chinese ink painting during the Cultural Revolution. At the same time, Some monographs and articles concerning the composition of painting and composition of the "Cultural Revolution" generally describe the characteristics of the composition of the central characters with the words "highlight the central characters by all means" and "put the main characters in the prominent position". However, there is no clear or correct explanation of "all means" and "prominent position" in the sentence. Through the study of this paper, a detailed explanation of these general words from the perspective of composition is given. The first part of this paper analyzes the influence of the social environment of the "Cultural Revolution" on the creation of Chinese ink figure painting in three aspects: first, there are limitations on the theme and subject matter of the creation; Third, the aesthetic requirements of the audience have a great impact on the creation. The second part analyzes the representative works from the angle of composition, summarizes the common composition forms and processing methods of Chinese ink figure painting in the period of the Cultural Revolution. Taking "Mine recruits" and "Yan'an New year" as examples, the composition methods of these two works are analyzed. The third part is a summary of the full text. The Chinese ink figure painting in the "Cultural Revolution" period mainly used the middle line of the picture, the "well" shape, opening and closing, circle, triangle, block, looking up, all kinds of contrast. The composition methods, such as hidden dew and visual guidance, highlight the central characters, create the image of the central characters and create a sense of stability in the picture, and are very straightforward, conceptual and stylized in the application of the composition method. The "prominent position" of the central figure is not fixed, it can be located in the center of the picture, but also in the position to the side of the picture.
【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】：2013
【分類號】：J212

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本文編號：1575553