本文選題：寫實 + 水墨人物畫　； 參考：《中國藝術(shù)研究院》2017年博士論文

【摘要】：本文針對寫實水墨人物畫的語言演變這一20世紀(jì)典型的“中西融合”美術(shù)現(xiàn)象,以歷史的發(fā)展脈絡(luò)為線索,研究影響其發(fā)展演變的相關(guān)因素及其不同階段的風(fēng)格特征,以求得把握其語言演變的規(guī)律之所在。寫實水墨人物畫在其創(chuàng)立伊始就伴隨著社會環(huán)境、文化思潮、政治氛圍等諸多外力的交織互動,其語言演變既脫胎于上述外力同時又以自身的具體形態(tài)反饋于它們。寫實水墨人物畫這種自身規(guī)律的內(nèi)在需求與歷史發(fā)展外力作用的動態(tài)關(guān)系始終存在只是由于歷史語境的不同關(guān)聯(lián)程度強(qiáng)弱有所區(qū)別罷了。本文依據(jù)其發(fā)展演變的階段特征將其劃分為四個歷史時期:萌芽期(20世紀(jì)初——1949年):在“引西入中”的浪潮下,寫實主義的造型手段介入中國畫的語言結(jié)構(gòu),寫實水墨人物畫應(yīng)運而生,人物寫實造型增強(qiáng)但傳統(tǒng)筆墨意趣缺失。勃興期(1949年——1966年):盡管經(jīng)歷了數(shù)次文藝政策的變更和有關(guān)中國畫的論爭,但最終建立起與中國畫自身規(guī)律相適應(yīng)的造型基礎(chǔ),寫實造型與傳統(tǒng)筆墨得以相互調(diào)和。異化期(1966年——1976年):在極端狂熱的政治運動中寫實水墨人物畫淪為“圖解政治的工具”,其語言特征也未能免于“文革美術(shù)”的流弊,打上了特殊時代的典型印記。革新期(1978年——2016年):文藝政策的開放,西方現(xiàn)代藝術(shù)的涌入,致使各種藝術(shù)思潮風(fēng)起云涌,寫實水墨人物畫的語言萃取不論“中西”,不分“新舊”形成了多元互補的新格局。概而言之,寫實水墨人物畫的語言演變既是其發(fā)展自律的內(nèi)在要求同時也是社會環(huán)境、文化思潮、政治運動等外力因素共同作用的結(jié)果。通過對這一命題的分析研究可以厘清寫實水墨人物畫的相關(guān)概念,發(fā)掘其語言演變的驅(qū)動力,把握其語言結(jié)構(gòu)的時代特征并為其今后發(fā)展、變遷提供可資參照的基本依據(jù)。
[Abstract]:Aiming at the linguistic evolution of realistic ink figure painting, which is a typical "Chinese and Western fusion" art phenomenon in the 20th century, this paper takes the historical development context as a clue to study the relevant factors affecting its development and evolution and the style characteristics of different stages.In order to grasp the law of its language evolution.Realistic ink figure painting in its inception with the social environment, cultural trends of thought, political atmosphere and many other external forces interwoven interaction, its language evolution is not only derived from the above-mentioned external forces, but also with their own specific form of feedback to them.The dynamic relationship between the internal demand of realistic ink figure painting and the external force of historical development is only due to the difference of the degree of relevance of historical context.According to the stage characteristics of its development and evolution, this paper divides it into four historical periods: from the beginning of the 20th century to the beginning of the 20th century to 1949: under the tide of "introducing the west into the middle", the modeling means of realism are involved in the language structure of Chinese painting.Realistic ink figure painting emerged as the times require, realistic character modeling enhanced but traditional ink lack of interest.Prosperity period (1949-1966): despite several changes in literary and artistic policies and controversy about Chinese painting, it finally established a modeling foundation suitable to the laws of Chinese painting itself, in which realistic modeling and traditional brushwork can be reconciled with each other.Alienation period (1966-1976): realistic ink figure painting was reduced to a "tool of graphic politics" in the political movement of extreme fanaticism, and its linguistic characteristics were not immune from the disadvantages of "Cultural Revolution Art", and it was a typical mark of a special era.The period of innovation (1978-2016): the opening of literary and artistic policies and the influx of modern western art have caused various artistic trends of thought to surge, and the language extraction of realistic ink figure painting, whether "Chinese or Western",Regardless of the old and the new, a new pattern of multiple complementarities has been formed.Generally speaking, the language evolution of realistic ink figure painting is not only the internal requirement of self-discipline, but also the result of external factors such as social environment, cultural trend of thought, political movement and so on.Through the analysis and study of this proposition, we can clarify the related concepts of realistic ink figure painting, explore the driving force of its language evolution, grasp the age characteristics of its language structure and provide the basic basis for its future development and vicissitude.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J212

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