本文選題：中國畫　切入點(diǎn)：線條　出處：《山西師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：藝術(shù)生命的誕生永遠(yuǎn)是處在不可捉摸的境地，她憑借自由與愛的智慧發(fā)現(xiàn)和孕育著自己的生命。藝術(shù)精神其實(shí)承載了人類的希望、美善、苦難以及信仰，，她啟迪著人類的思想、開拓著人類的視野、撫慰著人類的情感并激發(fā)著人類的精神。當(dāng)我們追根溯源時(shí)，不難發(fā)現(xiàn)其實(shí)中西方的繪畫藝術(shù)是以同一種形式出現(xiàn)的，但隨著歷史的變遷和中西方的意識(shí)形態(tài)的發(fā)展，中西方的繪畫藝術(shù)特點(diǎn)出現(xiàn)了很大的區(qū)別。因此，對于線條，中西方繪畫藝術(shù)也對其做出了不同的闡釋：西方繪畫中的線條服務(wù)于所描繪物象的明暗體積，而中國畫中的線條不僅可以達(dá)形而且可以傳神，并且可以作為一個(gè)獨(dú)立的審美存在。 傳統(tǒng)中國畫的思想是民族哲學(xué)的體現(xiàn)與升華，中國古代儒、道、佛三種的哲學(xué)觀念影響到了古人的價(jià)值觀和審美趣味，也正是這種審美趣味促使中國畫線條的不斷發(fā)展和完善。而且在傳統(tǒng)中國畫中，道法的思想觀念是占主導(dǎo)地位的，它不僅對揭示藝術(shù)品表層和深層、實(shí)象與虛象以及外在、內(nèi)在的規(guī)律起著重要作用，也對個(gè)體生命與宇宙生命給出了很高的闡釋。同時(shí)，儒家思想對傳統(tǒng)中國畫的影響也是不容忽視的，將人性的善與美帶入中國畫中，使作品透露出一種社會(huì)人文精神的“意”的情感。其實(shí)，中國畫形式感是儒道結(jié)合之下的生命意象的天地。而中國畫的線條則是表達(dá)這一切的基本形式。 物質(zhì)媒材也為中國畫線條的表達(dá)提供了最基礎(chǔ)的條件，線在毛筆、墨、宣紙的共同作用下有著豐富異常的筆墨變化，形成一種美感十足的意味形式。也正是因?yàn)檫@些物質(zhì)媒材與傳統(tǒng)中國畫的意象相結(jié)合，使物質(zhì)媒材脫離其特有的物理性質(zhì)而提升到精神層面。線條的形式感同樣也暗藏精神之意象，外在的線條的表現(xiàn)其實(shí)是被描繪客觀物象內(nèi)在的情感、精神以及理念。而傳統(tǒng)中國畫的在審美層面的意境、氣韻等方面表現(xiàn)出來的種種正是儒道相結(jié)合的產(chǎn)物。 不得不說，線是中國畫的靈魂。千百年來，中國畫畫家一直在研究如何使線條更加豐富更加具有內(nèi)涵。中國畫發(fā)展到現(xiàn)在，已經(jīng)形成了一套屬于自身的獨(dú)特機(jī)制：整合與分化。這種機(jī)制的出現(xiàn)是源于中國畫在面對外部變化所做出的調(diào)試，一方面融合外來因素一方面調(diào)和傳統(tǒng)因素。即在吸收借鑒外來因素的同時(shí)還要確保中國畫整體系統(tǒng)的穩(wěn)定性，這對于當(dāng)代的中國畫畫家是很大的機(jī)遇與挑戰(zhàn)。不得不說這種機(jī)制的出現(xiàn)，為中國畫的創(chuàng)新發(fā)展提供了不竭的動(dòng)力，在傳承中國畫的良好基因的前提下完成整合、提升、拓進(jìn)的一系列過程，促使中國畫的面貌多樣化、風(fēng)格個(gè)性化。
[Abstract]:The birth of artistic life is always in an inscrutable situation. She finds and breeds her own life by virtue of the wisdom of freedom and love. The artistic spirit actually carries the hope, the good, the suffering and the faith of mankind, and she enlightens the human mind. When we trace back to the source, it is not difficult to find that the art of painting in China and the West appears in the same form. However, with the change of history and the development of ideology in China and the West, the characteristics of painting art in China and the West are very different. Chinese and Western painting art has also made a different interpretation of it: the lines in Western painting serve the light and dark volume of the objects described, while the lines in Chinese painting can not only achieve shape but also be vivid. And can be an independent aesthetic existence. The thought of traditional Chinese painting is the embodiment and sublimation of national philosophy. The three philosophical concepts of Confucianism, Taoism and Buddhism in ancient China have influenced the values and aesthetic tastes of the ancients. It is this aesthetic interest that promotes the continuous development and perfection of the lines of Chinese painting. Moreover, in traditional Chinese painting, the ideology of Taoism plays a leading role, not only to reveal the surface and deep layers of art, but also to reveal the real and virtual images as well as the external ones. The inner law plays an important role and gives a high interpretation of individual life and cosmic life. At the same time, the influence of Confucianism on traditional Chinese painting cannot be ignored, bringing the goodness and beauty of human nature into Chinese painting. In fact, the sense of form of Chinese painting is the world of life image under the combination of Confucianism and Taoism, and the line of Chinese painting is the basic form of expressing all this. The material medium also provides the most basic conditions for the expression of Chinese painting lines. Under the joint action of brush, ink and rice paper, the line has rich and unusual changes of brush and ink. It is precisely because these material materials are combined with the images of traditional Chinese paintings, The material medium is lifted up to the spiritual level from its unique physical nature. The sense of form of the line also contains the image of the spirit, and the expression of the external line is actually the inner emotion of the objective image, The spirit and idea of traditional Chinese painting are the combination of Confucianism and Taoism. I have to say, line is the soul of Chinese painting. For thousands of years, Chinese painting painters have been studying how to make lines richer and more intension. Has formed a unique set of its own mechanism: integration and differentiation. The emergence of this mechanism is due to the Chinese painting in the face of external changes made debugging, On the one hand, the integration of external factors and the reconciliation of traditional factors. That is, while absorbing and drawing on foreign factors, we should also ensure the stability of the overall system of Chinese painting. This is a great opportunity and challenge for contemporary Chinese painting painters. It must be said that the emergence of this mechanism has provided an inexhaustible impetus for the innovation and development of Chinese painting, and has been integrated and upgraded on the premise of inheriting the good genes of Chinese painting. The development of a series of processes, promote the face of Chinese painting diversified, personalized style.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 李安東;;對中國畫“現(xiàn)代性”的審視[J];南京藝術(shù)學(xué)院學(xué)報(bào)(美術(shù)與設(shè)計(jì)版);2005年04期

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