本文選題：葉淺予 + 人物畫�。� 參考：《杭州師范大學(xué)》2013年碩士論文

【摘要】：葉淺予是二十世紀(jì)杰出的人物畫大家。他的人物畫作品融速寫、白描、漫畫手法于一體,形成穩(wěn)、準(zhǔn)、簡(jiǎn)的用線特點(diǎn)；又將文入畫的筆墨程式與民間美術(shù)的用色特點(diǎn)相結(jié)合,追求自然典雅的色彩效果。不論是構(gòu)圖、用色,還是在人物造型上,他所創(chuàng)作的人物畫都具有獨(dú)特的節(jié)奏感與韻律美,“開一代人物畫的新生面�！雹偃~淺予深受傳統(tǒng)文化與民間藝術(shù)的影響,他的人物畫形象直接來源于生活,作品既在簡(jiǎn)筆寫意中形成了雅致的審美特征,又具有民間美術(shù)清新樸素的審美趣味。他的人物畫在當(dāng)時(shí)具有較大的突破性。 本文以葉淺予的人物畫為研究對(duì)象,史料佐證與作品點(diǎn)評(píng)相結(jié)合,考察其作品的畫面形式與筆墨語言特征、審美特質(zhì)與文化內(nèi)涵。 全文共分五章。第一章,主要闡述葉淺予人物畫的研究意義與研究現(xiàn)狀。已有的研究大多傾向于對(duì)葉淺予的漫畫與舞蹈人物畫進(jìn)行定向研究,而本文則意在對(duì)其人物畫進(jìn)行整體性分析研究；第二章,在梳理葉淺予的人生經(jīng)歷中探究其人物畫創(chuàng)作動(dòng)因。葉淺予是具有歷史責(zé)任感的畫家,他的作品融匯中西,體現(xiàn)了時(shí)代變革,并于繼承傳統(tǒng)中尋求革新：第三章,結(jié)合葉淺予不同類型的人物畫作品,以及他人對(duì)其作品的品評(píng),并與同時(shí)期其他人物畫家進(jìn)行對(duì)比,分析葉淺予人物畫中西融合的形式與語言特征；第四章,結(jié)合葉淺予的代表性作品與其本人的繪畫理論,并結(jié)合現(xiàn)有研究,分析葉淺予人物畫帶有民間趣味的審美特征；第五章,從作者不同時(shí)期對(duì)自己繪畫的品評(píng),從具有地方特色的傳統(tǒng)文化角度來解讀葉淺予人物畫的文化內(nèi)蘊(yùn)。本文意在能更加客觀地認(rèn)識(shí)葉淺予的人物畫,并進(jìn)一步確定他對(duì)中國(guó)人物畫的貢獻(xiàn)和在美術(shù)史中的地位。
[Abstract]:Ye Qianyu is the twentieth Century outstanding figure painting. His painting works into the sketch, drawing, caricature in one form, steady, quasi, Jane with line features; will the picturesque schema and folk art color features combined with the pursuit of color effect natural elegant. No matter the composition, use of color still, in the figures, he created the painting has a unique sense of rhythm and rhythm, "a new surface generation painting." the effect of Qianyu by traditional culture and folk art, the images of his painting directly from life, works not only in concise freehand form the aesthetic features of folk art and elegant, fresh and plain aesthetic. His painting has a larger breakthrough at the time.
In this paper, ye Qianyu painting as the research object, combined with historical evidence on the screen in the form of comments on the works, works and linguistic features of text, aesthetic characteristics and cultural connotation.
This paper consists of five chapters. The first chapter mainly elaborates the research significance of Qianyu painting research. Most of the existing researches tend to cartoon directed research and dance figure painting of Ye Qianyu, but this is intended to analyze the whole of the figure painting; the second chapter explores the portrait creation motivation in the sort of Ye Qianyu's life experience. It is the historical responsibility of Ye Qianyu painter, his works integrate Chinese and western, reflects the era of change, and seek innovation in the tradition of: in the third chapter, combined with different types of Qianyu figure painting works, and others to judge their works, and compared with other artists at the same time, the analysis form and the language features of Ye Qianyu painting Western integration; the fourth chapter, combined with the representative works of Ye Qianyu and his painting theory, combined with the existing research, analysis of shallow leaf To figure painting with aesthetic features of folk interest; the fifth chapter, the author from the criticism on his paintings from different periods, with local characteristics of the traditional cultural perspective of Ye Qianyu's figure painting cultural connotation. This article is intended to be more objective understanding of Qianyu figure painting, and further to determine his contribution to Chinese painting and in the history of art status.

【學(xué)位授予單位】：杭州師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

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