本文選題：線描　切入點(diǎn)：中西繪畫(huà)　出處：《福建師范大學(xué)》2013年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：人類(lèi)最開(kāi)始時(shí)眼中里看到是物體簡(jiǎn)單的形,只有通過(guò)最簡(jiǎn)單的線來(lái)描繪。而要表現(xiàn)“形”的最快捷有效的方法便是用線來(lái)造型。因此線描就成了造型藝術(shù)中重要的表現(xiàn)手段之一。但是由于各自的文化傳統(tǒng)與審美觀念的不同,繪畫(huà)材料的不同從而使中西方繪畫(huà)中對(duì)線描的認(rèn)識(shí)與運(yùn)用產(chǎn)生不同的風(fēng)格特色。美術(shù)史上顯示,整體上來(lái)說(shuō)西方人比較理性,追求對(duì)現(xiàn)實(shí)自然的真實(shí),而中國(guó)人更偏向于感性,追求的是內(nèi)心情感的表達(dá)。同時(shí)也就使中西繪畫(huà)中線描之間有了真實(shí)與虛無(wú)的區(qū)別。 由于中西方文化傳統(tǒng)、宗教信仰等差異,在很長(zhǎng)的時(shí)間里外國(guó)人無(wú)法理解中國(guó)的國(guó)畫(huà),理解不了國(guó)畫(huà)中所表達(dá)的意境；而中國(guó)人也無(wú)法達(dá)到外國(guó)油畫(huà)的超高水平。 所以針對(duì)目前學(xué)術(shù)界對(duì)線描在中西繪畫(huà)中的應(yīng)用表現(xiàn)進(jìn)行比較的現(xiàn)狀研究和存在問(wèn)題進(jìn)行分析研究,本文通過(guò)以下幾章對(duì)線描在中西繪畫(huà)中的應(yīng)用表現(xiàn)比較進(jìn)行研究。第一章,對(duì)線描的由來(lái)進(jìn)行闡述,確定線描在中、西方繪畫(huà)的必不可少的繪畫(huà)因素,同時(shí)也說(shuō)明線描在繪中的地位。第二章,對(duì)中西方文化傳統(tǒng)、宗教信仰差異產(chǎn)生的不同而進(jìn)行的中西方之間各自對(duì)線描的理解認(rèn)識(shí)發(fā)展過(guò)程進(jìn)行適當(dāng)?shù)恼f(shuō)明。第三章,通過(guò)中西方之間相同時(shí)期,不同藝術(shù)大師塞尚與任伯年、莫迪利阿尼與潘玉良、波提切利與唐寅、莫奈與張大千,他們的藝術(shù)繪畫(huà)進(jìn)行比較,來(lái)說(shuō)明線描在中西繪畫(huà)的區(qū)別與聯(lián)系。第四章,對(duì)中國(guó)具有代表性的中國(guó)的傳統(tǒng)線描融合于西方繪畫(huà)之中的繪畫(huà)大師進(jìn)行分析解讀說(shuō)明,中西傳統(tǒng)繪畫(huà)線描是可能很好的進(jìn)行融合,拓展藝術(shù)領(lǐng)域的。第五章,對(duì)全文進(jìn)行總結(jié)中西傳統(tǒng)繪畫(huà)線描可能很好進(jìn)行中西融合。 此外,本文采取比較法與案例分析法,在深入對(duì)線描在中西繪畫(huà)中的應(yīng)用表現(xiàn)比較研究,歸納出中西線描的藝術(shù)之間的互補(bǔ)性,取長(zhǎng)避短。
[Abstract]:In the beginning, people saw simple objects in their eyes, Only through the simplest lines to depict. And the fastest and most effective way to express "shape" is to use lines to shape. So line drawing has become one of the most important means of expression in plastic arts. But because of their respective cultural traditions. Different from the aesthetic concept, The difference in painting materials makes the understanding and application of line drawing in Chinese and Western paintings have different style characteristics. Art history shows that Westerners are more rational in overall terms, pursuing the reality of reality and nature, while the Chinese tend to be more perceptual. It is the expression of inner emotion that makes the difference between Chinese and Western painting between truth and nihilism. Because of the differences between Chinese and Western cultures, religious beliefs and so on, for a long time foreigners could not understand Chinese traditional painting, could not understand the artistic conception expressed in Chinese painting, and the Chinese could not reach the super-high level of foreign oil painting. Therefore, in view of the current situation and existing problems of the comparison of the application of line drawing in Chinese and Western painting in the academic circles at present, In the first chapter, the origin of line drawing is expounded, and the essential drawing factors in Chinese and western painting are determined. At the same time, it also explains the position of line drawing in drawing. Chapter two, the understanding and development process of line drawing between China and the West, which are different from Chinese and Western cultural traditions and religious differences, are properly explained. Chapter three, Through the same period between China and the West, different art masters Cezanne and Ren Bonian, Modiriani and Pan Yuliang, Botticelli and Tang Yin, Monet and Zhang Daqian, their art paintings were compared. To explain the difference and connection of line drawing in Chinese and western painting. Chapter 4th, the analysis and explanation of the master of painting that Chinese traditional line drawing merges in western painting. Chinese and Western traditional painting line drawing may be very good integration, expand the field of art. 5th chapter, to summarize the full text of the Chinese and Western traditional painting line drawing may be a good combination of China and the West. In addition, this paper adopts comparative method and case analysis method, and makes a deep study on the application of line drawing in Chinese and western painting, and concludes the complementarity between Chinese and western art of line drawing, and takes the long to avoid the shortage.
【學(xué)位授予單位】：福建師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J205

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本文編號(hào)：1591120