本文選題：焦墨藝術(shù) + 焦墨��； 參考：《四川師范大學(xué)》2013年碩士論文

【摘要】：已有數(shù)千年發(fā)展歷史的中國(guó)畫(huà),無(wú)論在表現(xiàn)手法和審美形式上都已取得了很高的藝術(shù)成就。毋庸置疑,業(yè)已成熟和繁榮的中國(guó)畫(huà)仍然需要多種新的表現(xiàn)形式。為了創(chuàng)新的需要,一些藝術(shù)家于是在筆墨形式上探究中國(guó)畫(huà)的新出路。焦墨藝術(shù),由于在審美形態(tài)上呈現(xiàn)出另一種極致而倍受青睞。焦墨又稱渴筆焦墨,其源頭可以追溯到唐代以前。遺憾的是,唐代及此前的畫(huà)家注重用筆,而忽略用墨。他們所畫(huà)的山水,至多以焦墨勾勒輪廓,然后用焦墨皴擦幾筆。到了北宋,雖然水墨有了濃淡的變化,但相比后人在生宣上那種水墨淋漓的豐富變化仍然遜色不少。元代是畫(huà)家最重視筆墨的時(shí)期,但他們多用淡墨渴筆。名家們有時(shí)也會(huì)用焦墨作畫(huà)。譬如王蒙的焦墨畫(huà),既營(yíng)造出深秀、繁密,又體現(xiàn)了蒼茫的審美意趣,藝術(shù)成就極高。明清時(shí)期,程邃等畫(huà)家雖然經(jīng)常采用枯筆渴墨繪畫(huà),但他們的焦墨畫(huà)同樣表現(xiàn)出蒼茫而秀潤(rùn)的審美意境,后世對(duì)他的焦墨評(píng)價(jià)很高。然而,焦墨法能最終獨(dú)立為一種繪畫(huà)語(yǔ)言形式,則是在20世紀(jì)的中國(guó)畫(huà)的變革中。黃賓虹和張仃傳承和豐富了它的藝術(shù)表現(xiàn)力。 本論文正文部分分為四章,前三章從焦墨的溯源和現(xiàn)狀出發(fā),在對(duì)焦墨藝術(shù)審美表現(xiàn)作簡(jiǎn)述的基礎(chǔ)上,試圖厘清其在歷代中國(guó)畫(huà)發(fā)展中所具有的獨(dú)特審美和地位;然后,結(jié)合具體的焦墨畫(huà)家及其作品,嘗試分析焦墨畫(huà)對(duì)當(dāng)時(shí)畫(huà)壇的影響；第四章節(jié)結(jié)合本人研究生階段焦墨創(chuàng)作的實(shí)踐,通過(guò)分析前輩們對(duì)我個(gè)人焦墨作品的指導(dǎo)意義,提出了自己的創(chuàng)作觀念。通過(guò)對(duì)焦墨藝術(shù)的審美研究,對(duì)焦墨在技法和表現(xiàn)形式的多樣化上提出了個(gè)人的淺見(jiàn)。我們?cè)谘芯壳叭说慕鼓?huà)的基礎(chǔ)上,應(yīng)當(dāng)著意把握其時(shí)代特征,結(jié)合自身性格特質(zhì)、文化涵養(yǎng)和個(gè)性特點(diǎn),力爭(zhēng)創(chuàng)作出有一定審美趣味的焦墨作品。 本論文一方面著力探討了古代美術(shù)史上鮮有畫(huà)家畫(huà)焦墨這一現(xiàn)象。焦墨作為傳統(tǒng)的中國(guó)畫(huà)技法,很少被人關(guān)注,猶如現(xiàn)在很少被人提及的黑白照片；另一方面,本文對(duì)現(xiàn)當(dāng)代焦墨作了較簡(jiǎn)略的分析與研究�，F(xiàn)今焦墨畫(huà)因單純運(yùn)用墨色以表現(xiàn)畫(huà)面的層次感和空問(wèn)感,被認(rèn)為是形式美在表現(xiàn)局限上的開(kāi)拓。這是需要在焦墨藝術(shù)的實(shí)踐中進(jìn)一步創(chuàng)新的。焦墨既能表現(xiàn)出水墨的蒼潤(rùn),又能融合書(shū)法的金石筆法。我認(rèn)為有必要讓焦墨黑白的本色美、單純美、形式美、風(fēng)骨美、拙重美、肅穆美成為中國(guó)畫(huà)審美形式中不可或缺的視覺(jué)效果。鑒于目前國(guó)內(nèi)有關(guān)焦墨研究和焦墨畫(huà)家的研究相對(duì)較少,本文著墨于此,寄希望于帶動(dòng)更多的人關(guān)注和了解焦墨藝術(shù),進(jìn)而嘗試創(chuàng)作焦墨畫(huà)。
[Abstract]:Chinese painting, which has been developed for thousands of years, has made great achievements in both expression and aesthetic form. There is no doubt that the mature and prosperous Chinese painting still needs a variety of new forms of expression. In order to innovate, some artists in the form of ink and pen to explore a new way out of Chinese painting. Jiao Mo art, because of the aesthetic appearance of another kind of extreme and favored. Jiao Mo also known as craving pen Jiao ink, its source can be traced back to the Tang Dynasty. Unfortunately, the Tang Dynasty and the previous painters pay attention to the use of pen, and ignore the use of ink. They painted the landscape, at most with coke ink outline, and then with chapped brush a few strokes. To the Northern Song Dynasty, although the ink has a thick and light changes, but compared with later generations on the kind of wash ink dripping rich changes are still a lot less. The Yuan Dynasty was the period in which painters paid most attention to ink, but they often used light ink to crave pen. Famous artists sometimes paint with coke ink. For example, Wang Meng's Jiao ink painting, not only creates a deep, dense, but also reflects the boundless aesthetic interest, artistic achievement is extremely high. In the Ming and Qing dynasties, although Cheng Yong and other painters often used dry pen and thirst for ink painting, their Jiao ink paintings also showed a boundless and elegant aesthetic mood, and his Jiao ink was highly valued by later generations. However, Jiao-Mo method can become a kind of painting language form independently, it is in the change of Chinese painting in the 20 ~ (th) century. Huang Binhong and Zhang Ding inherited and enriched its artistic expressiveness. The main body of this thesis is divided into four chapters, the first three chapters proceed from the origin and current situation of Jiao Mo, on the basis of brief description of Jiao Mo art aesthetic performance, try to clarify its unique aesthetic and position in the development of Chinese painting in the past dynasties; then, Combined with specific Jiao ink painters and their works, try to analyze the impact of Jiao ink painting on the painting world at that time. Chapter four, combining with the practice of Jiao ink creation in my graduate school stage, through analyzing the guiding significance of my predecessors to my personal Jiao ink works, Put forward own creation idea. Through the aesthetic research of Jiao Mo art, the author puts forward his personal views on the diversification of his techniques and forms of expression. On the basis of studying the previous Jiao ink paintings, we should grasp the characteristics of their times, combine their own character, culture preservation and personality characteristics, and strive to create a certain aesthetic taste of Jiao Mo works. On the one hand, this paper probes into the phenomenon that there are few painters in the history of ancient art. As a traditional Chinese painting technique, Jiao Mo is seldom paid attention to, as if it is rarely mentioned in black and white photos. On the other hand, this paper makes a brief analysis and research on modern and contemporary coke ink. Nowadays, Jiao ink painting is regarded as the development of formal beauty in its performance limitation because of its pure use of ink color to express the sense of hierarchy and the sense of space. This needs to be further innovated in the practice of Jiao Mo art. Jiao ink can not only show the color of ink, but also blend the gold and stone strokes of calligraphy. I think it is necessary to let Jiao Mo black and white beauty, pure beauty, form beauty, style beauty, heavy beauty, solemn beauty become an indispensable visual effect in the aesthetic form of Chinese painting. In view of the relatively few domestic research on Jiao ink and Jiao ink painters, this paper focuses on this, hoping to lead more people to pay attention to and understand Jiao ink art, and then try to create Jiao ink painting.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 沈克;;中國(guó)繪畫(huà)中的“雅、俗”淺論[J];國(guó)畫(huà)家;2006年02期

2 張仃;我為什么畫(huà)焦墨[J];東方藝術(shù);2003年04期

3 曹玉林;;朱家山水鐵鑄成——朱松發(fā)山水畫(huà)的藝術(shù)價(jià)值和美學(xué)取向[J];東方藝術(shù);2006年05期

4 崔振寬;;漫談焦墨[J];當(dāng)代中國(guó)畫(huà);2008年03期

5 李克全;;玄素純凈美——焦墨畫(huà)的審美定位[J];湖北美術(shù)學(xué)院學(xué)報(bào);2011年01期

6 李光華;;解讀“計(jì)白當(dāng)黑”[J];美術(shù)大觀;2009年10期

7 李克全;;論焦墨畫(huà)的成因及藝術(shù)價(jià)值[J];美術(shù)大觀;2011年02期

8 李偉光;;焦墨山水畫(huà)的寫(xiě)生技法要素[J];美術(shù)大觀;2011年09期

9 駱堅(jiān)群;黃賓虹國(guó)際學(xué)術(shù)研討會(huì)論文選登黃賓虹藝術(shù)進(jìn)程的分期及理由[J];美術(shù)觀察;2004年10期

10 郎紹君;;大壯與筆墨——再談崔振寬與西北風(fēng)格的山水畫(huà)[J];美術(shù)研究;2008年02期

，

本文編號(hào)：1836114