本文選題：寫意人物　切入點(diǎn)：德國表現(xiàn)主義　出處：《中央美術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：本文先分析研究傳統(tǒng)寫意人物畫(水墨人物畫)這個(gè)畫種,得出其基本特性。由于材質(zhì)的特殊性,從古至今,寫意人物畫也更傾向于一種表現(xiàn)主義的狀態(tài)而非寫實(shí),《唐朝名畫錄》曾提及"圖出云霞,染成風(fēng)雨"表明水墨畫在其誕生之初就已經(jīng)顯示出表現(xiàn)傾向,它的誕生,其實(shí)標(biāo)志了傳統(tǒng)繪畫從具象到意象,從寫實(shí)到寫意,從再現(xiàn)到表現(xiàn),成為文人抒情宣泄的工具�？v觀西方表現(xiàn)主義藝術(shù)家席勒、蒙克等,在不同時(shí)期上的風(fēng)格上的轉(zhuǎn)變,不難發(fā)現(xiàn)隨著對(duì)藝術(shù)的認(rèn)識(shí)變得更加深刻,畫家越來越不滿足客觀再現(xiàn),舍棄客觀模仿,勇于于發(fā)掘自身藝術(shù)感受力,重新用自己的造型去表現(xiàn)客觀自然,這是吻合現(xiàn)代藝術(shù)的特征,也與美術(shù)史發(fā)展的方向相符,由于每個(gè)藝術(shù)家的內(nèi)心都是一個(gè)完整的世界,通過分析自己,體悟和感受所處的狀態(tài),并創(chuàng)造出用心體悟出來的造型形象。通過分析國內(nèi)畫家盧沉、周思聰先生,其中重點(diǎn)研究盧沉和周思聰先生前期的主題創(chuàng)作作品與后期表現(xiàn)性的作品人物造型的差異,綜合背景分析這種轉(zhuǎn)變的軌跡,以及理論和創(chuàng)作心得,以《礦工圖》為例,周思聰先生已從開始的"畫什么"轉(zhuǎn)到"怎么畫"的課題上思考著實(shí)踐著中國畫的革新與突破,從對(duì)客觀再現(xiàn)對(duì)象的升華到表現(xiàn)自我心境、思想、感情。借鑒外國藝術(shù)經(jīng)驗(yàn),不斷發(fā)掘藝術(shù)的各種可能性,最終走向具有表現(xiàn)主義傾向的水墨人物畫新路。
[Abstract]:This article first analyzes and studies the traditional freehand brushwork figure painting (water and ink figure figure painting) this kind of painting, obtains its basic characteristic, because of the material particularity, from ancient times till now, Freehand figure painting also tends to be a state of expressionism rather than realism. The famous paintings of the Tang Dynasty mentioned that "drawing clouds and dyed wind and rain" indicates that ink painting has shown a tendency of performance at the beginning of its birth, and its birth. In fact, it marks the traditional painting from concrete to imagery, from realistic to freehand, from reappearance to expression, and becomes a tool for literati to express their feelings. Throughout the western expressionist artists Schiller, Monk, and so on, the style changes in different periods. It is not difficult to find that as the understanding of art becomes more and more profound, painters are less and less satisfied with objective reproduction, abandon objective imitation, dare to explore their own artistic sensibility, and re-use their own modelling to express objective nature. This is consistent with the characteristics of modern art and with the direction of the development of art history. Because every artist's heart is a complete world, by analyzing himself, understanding and feeling the state in which he is in. Through the analysis of the domestic painters Lu Chen and Zhou Sicong, the emphasis is placed on studying the differences between the theme creation works in the early stage and the expressive works in the later period. Comprehensive analysis of the track of this change, as well as theoretical and creative experience, taking the miners' drawings as an example, Mr. Zhou Sicong has shifted from the beginning of "what to paint" to "how to draw" to reflect on the innovation and breakthrough in the practice of Chinese painting. From the sublimation of the objective reappearance object to the expression of self-mood, thought and emotion, drawing lessons from foreign artistic experience, exploring various possibilities of art, and finally moving towards a new way of painting with expressionism tendency.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 徐沛君;;20世紀(jì)初的德國表現(xiàn)主義繪畫[J];美術(shù)大觀;2000年03期

2 張榮生;;大城市表現(xiàn)主義[J];外國文學(xué);2006年04期

3 向蒞;;論表現(xiàn)主義藝術(shù)與表現(xiàn)主義美學(xué)之間的關(guān)系[J];哈爾濱學(xué)院學(xué)報(bào);2006年10期

4 易英;;25年的變形——表現(xiàn)主義在中國[J];藝術(shù)評(píng)論;2006年11期

5 崔冀文;;德國表現(xiàn)主義對(duì)哥特式藝術(shù)風(fēng)格的回歸[J];大眾文藝(理論);2008年11期

6 曹大霖;;論原始繪畫與西方表現(xiàn)主義繪畫的異同[J];美與時(shí)代(下);2010年04期

7 李建東;;試論表現(xiàn)主義的“新人氣質(zhì)”[J];內(nèi)蒙古農(nóng)業(yè)大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2010年05期

8 邵亮;張文怡;;表現(xiàn)主義的跨文化闡釋[J];榮寶齋;2010年12期

9 朱卉;;德國表現(xiàn)主義與新表現(xiàn)主義的共性和差異[J];藝術(shù)研究;2012年01期

10 陳慧;;論表現(xiàn)主義的得失[J];河北師范大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);1983年02期

相關(guān)會(huì)議論文 前4條

1 史修永;;從焦慮體驗(yàn)的角度看表現(xiàn)主義的審美意蘊(yùn)[A];2009江蘇省美學(xué)學(xué)會(huì)年會(huì)“當(dāng)代審美文化與藝術(shù)傳統(tǒng)”學(xué)術(shù)研討會(huì)會(huì)議論文集[C];2009年

2 郭志云;;表現(xiàn)主義的誘惑——茅盾與西方現(xiàn)代主義文學(xué)思潮探源之一[A];茅盾研究（第11輯）[C];2011年

3 祁志祥;;中國古典表現(xiàn)主義民族文學(xué)理論芻議[A];東方叢刊（1992年第1輯 總第一輯）[C];1991年

4 吳康;;《女神》——一部表現(xiàn)主義的詩集[A];郭沫若研究（第五輯）[C];1988年

相關(guān)重要報(bào)紙文章 前10條

1 本報(bào)記者 宋佳p，

本文編號(hào)：1605421