本文選題：愚公移山 + 人物畫�。� 參考：《魯迅美術(shù)學(xué)院》2013年碩士論文

【摘要】：創(chuàng)作于抗日戰(zhàn)爭(zhēng)時(shí)期的《愚公移山》是徐悲鴻先生為了鼓舞廣大民眾爭(zhēng)取勝利的精品力作，作品以恢宏的氣勢(shì)和動(dòng)人心魄的藝術(shù)力量影響了后來幾代人的人物畫藝術(shù)創(chuàng)作，這其中最令世人稱道的便是中國(guó)傳統(tǒng)繪畫與西方繪畫技法的完美結(jié)合，而實(shí)現(xiàn)這一完美結(jié)合的有效載體就是作品中的人物造型。畫家用傳統(tǒng)白描手法塑造了一個(gè)又一個(gè)堅(jiān)實(shí)有力的人物形象，但其中也借鑒了大量的西方繪畫中的透視空間，，解剖結(jié)構(gòu)，光線陰影等因素，甚至借用了一些真實(shí)生活中的人體模特的形象，但即使如此，我們并不能由此就判斷該作品就是一幅具備西方以寫生為基礎(chǔ)的寫生性質(zhì)的人物畫，原因就在于作品的造型方法屬于中國(guó)人物傳統(tǒng)畫創(chuàng)作范疇，也就是說，以寫生為特征的寫生能力與以創(chuàng)造為目的的造型能力是有著本質(zhì)區(qū)別的。本文通過對(duì)“寫生”和“造型”兩種不同概念的比較分析，得出這樣的結(jié)論：寫生能力是“眼”“手”一致的協(xié)調(diào)力，而造型能力才是“胸”“手”合一的創(chuàng)造力。因?yàn)樵煨湍芰饶軌蛩茉焖囆g(shù)典型，又能夠創(chuàng)造藝術(shù)美；既能夠賦予藝術(shù)家創(chuàng)造力，也能夠鍛煉藝術(shù)家的形象思維能力。而寫生的唯一必要性只在于“藝術(shù)是對(duì)生活的反映”這一點(diǎn)，由此我們發(fā)現(xiàn)徐悲鴻注重對(duì)中西繪畫事例實(shí)則是堅(jiān)守傳統(tǒng)基礎(chǔ)上的借鑒。并非全盤西化。筆者認(rèn)為當(dāng)下的人物畫創(chuàng)作應(yīng)清楚而深刻地認(rèn)識(shí)這一點(diǎn)，將造型能力的提升作為人物畫創(chuàng)作的基石，并由此引發(fā)了對(duì)于造型能力培養(yǎng)的種種思考。總之，本文通過對(duì)《愚公移山》中所體現(xiàn)出的“形神觀”的探討以期對(duì)日后的人物畫創(chuàng)作有所裨益。
[Abstract]:Created during the War of Resistance against Japan, "Yugong and Yaoshan" is a masterpiece by Mr. Xu Beihong to inspire the general public to win the victory. His works have influenced the artistic creation of figure paintings of later generations with great momentum and moving artistic force. The most laudable one is the perfect combination of Chinese traditional painting and western painting techniques, and the effective carrier to realize this perfect combination is the character modeling in the works. The painters have created one solid and one powerful figure after another with the traditional method of white drawing, but they also draw lessons from the perspective space, anatomical structure, light shadow and other factors in a large number of Western paintings. It even borrows some real life mannequins, but even so, we can't judge from this that the work is a portrait of a Western sketch based on sketching. The reason lies in the fact that the modeling method of the works belongs to the category of traditional Chinese characters' painting, that is, the sketch ability characterized by sketching is essentially different from the ability to shape with the aim of creation. Through the comparison and analysis of the two different concepts of "sketch" and "modeling", this paper draws the conclusion that the ability of sketch is the consistent coordination of "eye" and "hand", and the ability of modeling is the creativity of "chest" and "hand". Because the ability of modeling can not only shape the artistic model, but also create artistic beauty; it can not only endow the artist with creativity, but also exercise the artist's ability of thinking in images. The only necessity of sketching lies in the fact that art is a reflection of life. From this we find that Xu Beihong's emphasis on Chinese and Western painting is a reference on the basis of sticking to the tradition. Not completely westernized. The author thinks that the present figure painting creation should understand this point clearly and deeply, regard the promotion of the modeling ability as the foundation stone of the figure painting creation, and thus cause all kinds of thinking about the cultivation of the modeling ability. In a word, this paper discusses the "outlook on form and spirit" embodied in "Yugong moving away the Great Mountain" in order to be of benefit to the creation of figure painting in the future.
【學(xué)位授予單位】：魯迅美術(shù)學(xué)院
【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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