本文選題：水墨人物畫 + 光影　； 參考：《湖南師范大學(xué)》2014年碩士論文

【摘要】：水墨人物畫中的光影運(yùn)用主要從發(fā)展過(guò)程的三個(gè)不同階段,來(lái)梳理與分析其產(chǎn)生、存在、發(fā)展的狀況。光影在現(xiàn)代水墨人物畫中的運(yùn)用,是如何以“傳承與融合”的方式進(jìn)行改良；而對(duì)當(dāng)下的水墨人物畫,又是如何運(yùn)用光影來(lái)體現(xiàn)畫家的藝術(shù)風(fēng)格。面對(duì)這些問(wèn)題,就要對(duì)光影在水墨人物畫中運(yùn)用原因、審美形式以及運(yùn)用后會(huì)產(chǎn)生哪些得與失等方面進(jìn)行綜合分析與科學(xué)研究。因此,本文主要以水墨人物畫光影的運(yùn)用為主線,以部分水墨人物畫家的作品解讀為輔線,來(lái)論述光影在水墨人物畫中的具體運(yùn)用。通過(guò)本文的研究表明：光影在水墨人物畫中的運(yùn)用過(guò)程,它既受時(shí)代背景下的影響、傳統(tǒng)姊妹藝術(shù)改革新空氣的影響以及多元化審美需要的影響；又在藝術(shù)手法上、結(jié)構(gòu)形式上、色彩表現(xiàn)上所呈現(xiàn)不同的審美內(nèi)涵,并在創(chuàng)作過(guò)程中既有得,也有失；也具有傳神表意、機(jī)趣天然、和諧統(tǒng)一與巧奪天工的審美形式,是藝術(shù)人物形象的內(nèi)在精神和畫家本身思想感情的統(tǒng)一,這種統(tǒng)一既深刻烙印了中國(guó)水墨人物畫的曲折、復(fù)雜的演進(jìn)軌跡,又深刻烙印了西方藝術(shù)對(duì)其產(chǎn)生的影響后的創(chuàng)新求變過(guò)程。在其過(guò)程中,將產(chǎn)生水墨畫家是如何借鑒與吸收,以及自己在創(chuàng)作中又是如何進(jìn)行表現(xiàn)與運(yùn)用等問(wèn)題。因此,本人力求在水墨人物畫的創(chuàng)作過(guò)程中,由受制于純粹的“筆墨結(jié)構(gòu)”到可以充分運(yùn)用“光影”的轉(zhuǎn)換,并以光影的視覺(jué)形態(tài),來(lái)確立一種具有本人特色的水墨人物畫的藝術(shù)風(fēng)格。
[Abstract]:The use of light and shadow in ink figure painting mainly from the three different stages of the development process to sort out and analyze its production, existence, development of the situation. How to improve the use of light and shadow in modern ink figure painting, and how to use light and shadow to reflect the artist's artistic style. In the face of these problems, it is necessary to make a comprehensive analysis and scientific research on the reasons for the use of light and shadow in the ink figure painting, the aesthetic form and what gains and losses will result from the application. Therefore, this paper mainly takes the use of the light and shadow of the ink figure painting as the main line, with the interpretation of some of the works of the figure painter as the auxiliary line, to discuss the specific application of light and shadow in the figure painting. Through the research of this paper, it is shown that the application process of light and shadow in the ink figure painting is not only influenced by the background of the times, but also influenced by the influence of the new air of the traditional sister art reform and the diversified aesthetic needs, as well as the influence of the artistic techniques. In terms of structure, color expression presents different aesthetic connotations, and in the process of creation, there are both gains and losses, as well as vivid ideas, natural interests, harmony and unity, as well as beautiful aesthetic forms. It is the unity of the inner spirit of the artistic figure image and the artist's own thoughts and feelings. This unity not only deeply imprints the twists and turns of the Chinese ink figure painting, but also the complicated evolution track. It also deeply imprints the process of innovation and change after the influence of western art on it. In the process, there will be some problems such as how to draw lessons from and absorb by the ink painter, and how to express and apply it in his own creation. Therefore, I strive to change from pure "brush and ink structure" to making full use of "light and shadow" in the creative process of ink figure painting, and use the visual form of light and shadow. To establish a unique artistic style of ink figure painting.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

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本文編號(hào)：1911442