本文選題：山水畫 + 構(gòu)圖��； 參考：《陜西師范大學(xué)》2013年碩士論文

【摘要】：構(gòu)圖,是我們?cè)谧匀痪拔镏欣沓鲱^緒、找出脈絡(luò),使畫面主題鮮明、內(nèi)容突出,對(duì)有一定美感的自然景物進(jìn)行加工創(chuàng)造的過(guò)程。換言之,構(gòu)圖則是山水畫的結(jié)構(gòu),指畫面的空間緯度,是物與物、形與形之間的關(guān)系。張大千先生曾經(jīng)提到過(guò),一張畫若沒(méi)有一個(gè)好的構(gòu)圖,那就不可能是一幅完美的畫,也不可能讓觀者產(chǎn)生豐富的聯(lián)想,更不可能使人有可行、可觀、可游、可居之意�？梢�(jiàn),構(gòu)圖作為畫面的形式語(yǔ)言,對(duì)于畫面的創(chuàng)作具有非常重要的意義。 中國(guó)山水畫的構(gòu)圖形式多樣。傳統(tǒng)山水畫的構(gòu)圖形式有開(kāi)合、聚散、虛實(shí)、呼應(yīng)等。這些構(gòu)圖樣式詮釋了山水畫的創(chuàng)作語(yǔ)言,為歷代山水畫家在創(chuàng)作的過(guò)程中提供了依據(jù)。 山水畫的構(gòu)圖經(jīng)歷了幾個(gè)重要轉(zhuǎn)變,讓山水畫的發(fā)展在每個(gè)階段都展現(xiàn)出自己獨(dú)有的特色。北宋時(shí)期山水畫構(gòu)圖展現(xiàn)出宏偉大氣的全景式構(gòu)圖；南宋山水畫構(gòu)圖展現(xiàn)的則是“馬一角,夏半邊”式的邊角構(gòu)圖；到了元代,山水畫的構(gòu)圖則表現(xiàn)為平遠(yuǎn)式；明清時(shí)期,山水畫構(gòu)圖更為多樣,為20世紀(jì)山水畫構(gòu)圖的發(fā)展奠定了基礎(chǔ)。 20世紀(jì)山水畫構(gòu)圖是在繼承傳統(tǒng)山水畫構(gòu)圖的基礎(chǔ)上,尋找到的具有時(shí)代氣息的道路。山水畫構(gòu)圖有其自身的特點(diǎn)：在構(gòu)圖的方式上,表現(xiàn)為從出世到入世、重現(xiàn)自然；在表現(xiàn)特征上,從“胸中丘壑”到“目中丘壑”、畫面景“滿”并且畫面布局“新奇”。山水畫大師黃賓虹、傅抱石、張大千、李可染、賈又福等在繼承傳統(tǒng)的基礎(chǔ)上,以自然為師,以生活為源泉,通過(guò)意象加工,每個(gè)人在構(gòu)圖上都有屬于自己的樣式。比如黃賓虹抽象化的積墨,將抽象的風(fēng)格與世界現(xiàn)代藝術(shù)相接近；傅抱石的動(dòng)感情境,他將畫面與大自然很好的結(jié)合,讓觀者能夠真切的感受到自然的變化；張大千的畫面險(xiǎn)峻,那佇立的天梯足以讓我們?yōu)橹@嘆；李可染的“似奇反正”,他的構(gòu)圖如同天平的兩端一樣,看似等價(jià)但分量不同：賈又福的構(gòu)圖“結(jié)構(gòu)化”,他用平面構(gòu)成的方式,將畫面進(jìn)行不同的分割。每個(gè)人的構(gòu)圖都有其自身的面貌,足以讓觀者在畫面中找到新鮮的氣息。 在20世紀(jì)山水畫的構(gòu)圖中,我們不但看到了中國(guó)山水畫的構(gòu)圖樣式,而且也感受到了山水畫構(gòu)圖的文化意蘊(yùn)。體現(xiàn)在中國(guó)山水畫的構(gòu)圖是一種形式語(yǔ)言、山水畫構(gòu)圖的“情境化”,山水畫構(gòu)圖是創(chuàng)作情感的最初體驗(yàn)等。
[Abstract]:Composition is the process of processing and creating natural scenery with distinct theme and prominent content. In other words, composition is the structure of landscape painting, refers to the spatial latitude of the picture, is the relationship between object and object, form and form. Mr Zhang Daqian once mentioned that without a good composition, a painting cannot be a perfect picture, nor can it make the viewer rich in associations, let alone make people viable, observable, swimming, and habitable. Thus, as the formal language of the picture, composition is of great significance to the creation of the picture. The composition of Chinese landscape painting is varied. The traditional landscape painting composition form has the opening and closing, the congregation, the virtual reality, echo and so on. These composition styles annotate the language of landscape painting and provide the basis for the creation of landscape painters in the past dynasties. The composition of landscape painting has undergone several important changes, so that the development of landscape painting has its own unique characteristics in each stage. The composition of landscape painting in the Northern Song Dynasty showed a magnificent panoramic composition; the composition of the landscape painting in the Southern Song Dynasty showed the "horse corner, summer half side" style; by the Yuan Dynasty, the composition of the landscape painting was Pingyuan style; in the Ming and Qing dynasties, the landscape painting composition showed Pingyuan style. Landscape painting composition is more diverse, for the 20 th century landscape painting composition development laid the foundation. Landscape painting composition in the 20th century is based on the inheritance of traditional landscape painting composition, which has the flavor of the times. The composition of landscape painting has its own characteristics: in the way of composition, it shows from birth to entry into the world and reappearance of nature; in the performance, from "the mound in the chest" to "the mound in the eye", the picture scene is "full" and the picture layout is "novel". Master of landscape painting, Huang Binhong, Fu Baoshi, Zhang Daqian, Li Keran, Jia Youfu, etc., on the basis of inheriting tradition, taking nature as the teacher, taking life as the source, and processing images, everyone has his own style in composition. For example, Huang Binhong abstract ink, abstract style and the world's modern art similar; Fu Baoshi's dynamic situation, he will picture and nature a good combination, so that the viewer can really feel the natural changes; Zhang Daqian's images are steep, and the ladder standing there is enough to marvel us; Li Keran's "odd anyway", his composition is like the two ends of the scale, seemingly equivalent but different in weight: the composition of Jia Youfu is "structured." He divided the picture in a flat way. Everyone's composition has its own appearance, enough to let the viewer find fresh breath in the picture. In the composition of landscape painting in the 20th century, we not only saw the composition style of Chinese landscape painting, but also felt the cultural implication of landscape painting composition. It is embodied in that the composition of Chinese landscape painting is a formal language, the "situational" of the composition of landscape painting, and the composition of landscape painting is the initial experience of creative emotion, etc.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 黃朋;關(guān)于《畫禪室隨筆》編者的考訂[J];東南文化;2001年09期

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本文編號(hào)：1862474