本文選題：山水　切入點(diǎn)：寫真　出處：《廣州大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：本文基于傳統(tǒng)中國(guó)山水畫的繪畫表現(xiàn)風(fēng)格基礎(chǔ)之上，從中國(guó)山水畫表現(xiàn)方法的發(fā)展和轉(zhuǎn)變，到中國(guó)山水畫寫意化道路的意義進(jìn)行研究與分析，目的在于探討中國(guó)山水畫創(chuàng)作的真諦。其中尤其對(duì)寫真與寫意兩種表現(xiàn)方法進(jìn)行了全新認(rèn)識(shí)和深度思考，并且通過(guò)自己的創(chuàng)作作了實(shí)踐性的探索。最后一章詳細(xì)闡述對(duì)于畢業(yè)作品的構(gòu)思、架構(gòu)與生成的過(guò)程，在創(chuàng)作過(guò)程中結(jié)合以上的理論研究對(duì)創(chuàng)作繪畫系列作品《云水之間》進(jìn)行大量的嘗試�？偨Y(jié)出了藝術(shù)創(chuàng)作手法寄寫實(shí)造型于寫意創(chuàng)作中，即“以意馭形”的具體觀點(diǎn)。 研究中將通過(guò)中國(guó)古代大家的山水畫中對(duì)自然之真實(shí)的表現(xiàn)，探究中國(guó)山水畫創(chuàng)作中“寫真”觀念的提出與深化，闡述中國(guó)山水畫創(chuàng)作中獨(dú)特寫真觀的形成過(guò)程，剖析其深具中國(guó)文化特色的精神實(shí)質(zhì)和對(duì)后世中國(guó)山水畫創(chuàng)作的影響。而中國(guó)山水畫寫意化的意義則通過(guò)對(duì)寫意化內(nèi)涵的剖析，點(diǎn)出寫意化的關(guān)鍵則是“意”在虛實(shí)之間，最后通過(guò)對(duì)傳統(tǒng)意象風(fēng)格的反思，說(shuō)明了中國(guó)山水畫在寫意化上的具體體現(xiàn)。 最后文中通過(guò)升華自然山水之神直指想要?jiǎng)?chuàng)作出好的藝術(shù)作品必須達(dá)到“天人合一”的境界，并通過(guò)對(duì)白石老人之名言：“作畫妙在似與不似之間”的分析，，點(diǎn)出中國(guó)畫之真諦，并運(yùn)用到自己的創(chuàng)作之中，從而提出自己“以意馭形”的創(chuàng)作觀念。 立此論題旨在對(duì)自己國(guó)畫創(chuàng)作過(guò)程中產(chǎn)生的對(duì)中國(guó)山水畫創(chuàng)作如何表現(xiàn)這一問(wèn)題進(jìn)行理論的思考與總結(jié)。主要闡述的內(nèi)容則是對(duì)中國(guó)山水畫中的“寫實(shí)”與“寫意”這兩種主要的傳統(tǒng)表現(xiàn)手法進(jìn)行系統(tǒng)的理論分析，并提出自己“以意馭形”的創(chuàng)作觀點(diǎn)與感受。
[Abstract]:Based on the traditional Chinese landscape painting performance style, from the development and transformation of the Chinese landscape painting expression method, to the Chinese landscape painting freehand brushwork of the significance of the study and analysis, The purpose is to probe into the true meaning of Chinese landscape painting creation. And through their own creation to make a practical exploration. The last chapter elaborated on the graduation work of the concept, structure and generation process, In the process of creation, combining the above theoretical research, a large number of attempts have been made to create a series of paintings, "between clouds and waters", and the concrete viewpoint of sending realistic modeling in freehand brushwork, that is, "controlling the shape by freewill", has been summed up. In the study, through the real expression of nature in the landscape painting of ancient China, the author will probe into the raising and deepening of the concept of "portrait" in the creation of Chinese landscape painting, and expound the forming process of the unique view of realistic painting in the creation of Chinese landscape painting. This paper analyzes its spiritual essence with Chinese cultural characteristics and its influence on the creation of Chinese landscape painting in later generations. By analyzing the connotation of freehand brushwork of Chinese landscape painting, it points out that the key point of freehand brushwork is that the meaning of freehand brushwork is between vanity and reality. Finally, through the reflection of the traditional image style, it explains the concrete embodiment of Chinese landscape painting in freehand brushwork. Finally, through the sublimation of the god of natural mountains and rivers, the author points out that in order to create good works of art, he must achieve the state of "harmony of nature and man", and through the analysis of the famous saying of the old man of Baishi: "the painting is wonderful between likeness and non-likeness". This paper points out the true meaning of Chinese painting, and applies it to his own creation, thus putting forward his creative concept of "controlling form with intention". The purpose of this thesis is to make a theoretical reflection and summary on how to express the Chinese landscape painting in the process of Chinese traditional painting creation. The main content of this thesis is "realistic" and "realistic" in Chinese landscape painting. Freehand brushwork "these two main traditional expression methods carry on systematic theory analysis, At the same time, the author puts forward his own creative viewpoint and feeling of "controlling form with intention".
【學(xué)位授予單位】：廣州大學(xué)
【學(xué)位級(jí)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2條

1 徐暢;;中國(guó)山水畫的藝術(shù)特點(diǎn)初探[J];大眾文藝;2012年02期

2 田田;;也談中國(guó)畫的意象性[J];藝海;2007年02期

本文編號(hào)：1647626