本文選題：中國人物畫 + 原創(chuàng)性　； 參考：《曲阜師范大學(xué)》2014年碩士論文

【摘要】：縱觀中國人物畫的創(chuàng)造歷程，人物畫由最初的簡單符號發(fā)展到當(dāng)今題材多樣、技法豐富的繪畫，這一系列的發(fā)展變化都是歷代畫家不斷積累、不斷創(chuàng)造的結(jié)果。美術(shù)史只記述改變一代風(fēng)尚的畫家，歷史上所記述的著名畫家無不是在自己藝術(shù)上具有獨(dú)創(chuàng)性的，那些具有原創(chuàng)性的繪畫才有著較高的藝術(shù)價值，而簡單的模仿只會被歷史所淘汰。南宋的梁楷和近代的徐悲鴻是中國美術(shù)史上尤為典型的原創(chuàng)性畫家，梁楷獨(dú)創(chuàng)的減筆畫使繪畫有了工筆與寫意之分，豐富了繪畫的表現(xiàn)風(fēng)格。20世紀(jì)的徐悲鴻更是一位劃時代的畫家，正是由于徐悲鴻將西方傳統(tǒng)繪畫中素描造型引入中國畫中，使中國人物畫在造型嚴(yán)謹(jǐn)?shù)幕A(chǔ)上更好的表現(xiàn)人物形象的內(nèi)在特征，打破了原來的模式化特征。 本文共分成三個章節(jié)，引言部分說明本文的研究意義和特點(diǎn)，提出自己的觀點(diǎn)，第一章中說明什么是繪畫的原創(chuàng)性以及影響繪畫原創(chuàng)性的因素，提出原創(chuàng)性的意義這一論點(diǎn)。文章的第二章從中國歷史上人物畫的創(chuàng)造性的發(fā)展進(jìn)行概述，從縱向時間上來論述每個時期的人物畫創(chuàng)造，發(fā)現(xiàn)美術(shù)史記述的都是具有自己獨(dú)特原創(chuàng)性的繪畫作品，從而加以論證人物畫的原創(chuàng)性這一觀點(diǎn)。最后一章以梁楷、徐悲鴻兩位具有典型原創(chuàng)性的畫家為例，，從畫家生平經(jīng)歷、獨(dú)創(chuàng)性的繪畫風(fēng)格特征對原創(chuàng)性進(jìn)行分析論述，并通過闡述他們在繪畫上的原創(chuàng)性給當(dāng)時的人物畫畫壇帶了的巨大影響，來進(jìn)一步說明人物畫原創(chuàng)性的意義。 文章最后通過結(jié)合自己的繪畫創(chuàng)作來進(jìn)一步探尋原創(chuàng)性的重要意義。我們應(yīng)該重視人物畫原創(chuàng)性，要在積累和學(xué)習(xí)中不斷創(chuàng)新，把對生活的真實(shí)感受融入到自己的繪畫創(chuàng)作中，找到屬于自己的繪畫的原創(chuàng)性。
[Abstract]:Throughout the creation process of Chinese figure painting, figure painting from the initial simple symbols to the current variety of subjects, rich techniques of painting, this series of development and change is the result of continuous accumulation and creation of the painters of the past dynasties. Art history only describes the artists who have changed the fashion of a generation. All the famous painters described in history have originality in their own art, and those paintings with originality have higher artistic value. And simple imitation will only be eliminated by history. Liang Kai of the Southern Song Dynasty and Xu Beihong of modern times are the most typical original painters in the history of Chinese art. Xu Beihong, who enriched the expressive style of painting in the 20th century, is an epoch-making painter. It is precisely because Xu Beihong introduced sketch modeling in traditional Western painting into Chinese painting. Chinese figure painting on the basis of rigorous modeling better performance of the inherent characteristics of the character image, breaking the original pattern characteristics. This paper is divided into three chapters. The introduction explains the significance and characteristics of this paper and puts forward its own viewpoint. The first chapter explains what is the originality of painting and the factors that affect the originality of painting, and puts forward the argument of the meaning of originality. The second chapter summarizes the creative development of figure painting in Chinese history, discusses the creation of figure painting in each period from the longitudinal time, and finds out that all paintings recorded in art history have their own unique originality. So as to demonstrate the originality of figure painting this point of view. The last chapter takes Liang Kai and Xu Beihong as an example to analyze the originality from the painter's life experience and original painting style characteristics. And by expounding their originality in painting to the figure painting world brought great influence, to further explain the significance of the original figure painting. In the end, the paper explores the significance of originality by combining with his painting creation. We should attach importance to the originality of figure painting, innovate constantly in accumulation and study, integrate the true feeling of life into our own painting creation, and find the originality of our own painting.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 榮劍;;“復(fù)制的藝術(shù)”何以可能?——科學(xué)語境中的藝術(shù)現(xiàn)代性[J];美術(shù)研究;2009年02期

2 尚建忠;;梁楷的減筆畫及對中國繪畫的影響[J];美與時代(上半月);2008年02期

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