本文選題：實景寫生　切入點：主題性　出處：《揚州大學》2013年碩士論文

【摘要】：在古代,山水畫的寫生和創(chuàng)作之間沒有必然的鴻溝,“外師造化,中得心源”既是我們中國傳統(tǒng)文化中的“寫生”法則,也是山水畫創(chuàng)作的準則。古代“寫生”注重目識心記方法,即不用面對實物勾勒臨寫,而是把所見景物默記于心中,經(jīng)過主觀熔鑄后再畫出來。這和當代對景寫生有著極大的不同。當代山水畫寫生的主要形式有三種,對景寫生、速寫和默寫。我國當代山水大家傅抱石先生寫生時大多采用速寫的方式,而另一位山水大師黃賓虹先生往往采用默寫的寫生方式。當代山水畫寫生和創(chuàng)作之間的關系,相對于古代來說,寫生有著較大的獨立性,它既為創(chuàng)作收集素材奠定了基礎,同時也可以現(xiàn)場面對實景勾畫獨立成為一件完整意義上的作品。 當代山水從建國以來一直注重實景寫生,并為主題性創(chuàng)作提供素材、提供思路,在向主題性創(chuàng)作轉換的過程中寫生起了鋪墊和基礎作用,這是一個值得關注的現(xiàn)象,也是一個值得探究的問題。 眾所周知,主題一般是指一幅作品內(nèi)容有鮮明的中心思想,同時作品中體現(xiàn)出畫家自己成熟的藝術風格與面貌。山水畫的主題性并不像人物畫那么鮮明,但它往往能夠表達創(chuàng)作者的情感和審美趣味。畫家以“山水”為題材,注入對社會、對生活的思考,帶有目的性意義地進行藝術加工,所得到的具有深刻的主題思想的一個創(chuàng)作。那么,從實景寫生向主題性創(chuàng)作轉換過程中,會存在什么樣的問題呢? 在山水畫的主題性創(chuàng)作中,如何從實景寫生中選取代表性的景物,是一個極其重要的問題。以傅抱石“韶山組畫”創(chuàng)作為例,分析他在創(chuàng)作中是如何選景的。傅抱石先生采用了現(xiàn)場速寫的寫生方式畫了很多小稿,從而收集了大量的素材,回來后根據(jù)主題和畫面的需要,選取實景寫生稿中代表性景點再加入主觀的想象來創(chuàng)作。再以石魯“轉戰(zhàn)陜北"為例,分析人物情境在主題性山水畫創(chuàng)作中是如何處理的。結合自己的創(chuàng)作感受,分析自己創(chuàng)作過程中遇到從實景寫生到主題性創(chuàng)作轉換的問題以及解決問題的辦法。
[Abstract]:In ancient times, there was no necessary gap between painting and creation of landscape painting. It is also the criterion of landscape painting creation. In ancient times, "sketching" paid attention to the method of mind recognition, that is, instead of drawing up and writing in the face of physical objects, the ancient "sketches" recorded in their hearts the scenes they had seen. This is very different from contemporary landscape painting. There are three main forms of contemporary landscape painting. Sketch and silent writing. Mr. Fu Baoshi, a contemporary landscape artist in our country, mostly uses sketches when he sketches, while another master of landscape, Huang Binhong, often uses the way of sketching. The relationship between contemporary landscape painting sketches and creation. Compared with the ancient times, sketching has a great independence, it not only lays the foundation for the creation and collection of materials, but also can become a complete work in the face of the scene. Since the founding of the people's Republic of China, the contemporary landscape has always paid attention to the realistic sketch, provided the material for the thematic creation, provided the train of thought, and played the role of laying the groundwork and foundation in the process of the conversion to the thematic creation, which is a phenomenon worthy of attention. It is also a question worth exploring. As we all know, the theme generally refers to a work with a clear central idea, and at the same time reflects the artist's own mature artistic style and appearance. The theme of landscape painting is not as bright as the figure painting. But it can often express the feelings and aesthetic tastes of the creators. The painters, taking "landscape" as the subject matter, inject into the society, think about life, and carry on artistic processing with a purposeful meaning. Then, what kind of problems will exist in the process of transformation from realistic sketch to thematic creation? In the thematic creation of landscape painting, how to select the representative scenery from the realistic painting is an extremely important issue. Taking Fu Baoshi's "Shaoshan Group painting" as an example, Analysis of how he chose the scene in his creation. Mr. Fu Baoshi used the sketch method of the scene to draw a lot of small manuscripts, thus collecting a large amount of material, and when he came back, according to the theme and the needs of the picture, Select representative scenic spots in realistic sketches and add subjective imagination to create them. Then take Shi Lu's "turning to Northern Shaanxi" as an example, analyzes how the character situation is dealt with in the creation of thematic landscape paintings, and combines with his own creative feelings. This paper analyzes the problems from realistic sketch to thematic creation in the process of creation and the solutions to the problems.
【學位授予單位】：揚州大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212

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相關期刊論文 前2條

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2 裴哲峰;;淺論中國水彩畫主題性創(chuàng)作的現(xiàn)實意義[J];作家;2011年24期

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本文編號：1673204