本文選題：工筆畫(huà) + 裝飾性　； 參考：《首都師范大學(xué)》2014年碩士論文

【摘要】：工筆畫(huà)是中國(guó)繪畫(huà)的主要形式之一,與寫(xiě)意畫(huà)相對(duì)應(yīng)。在幾千年的發(fā)展過(guò)程中,傳統(tǒng)工筆畫(huà)創(chuàng)造出了輝煌的成績(jī)。裝飾性主要指的是一種美學(xué)上的趣味,在藝術(shù)家進(jìn)行創(chuàng)作的過(guò)程中,作品中有意或無(wú)意會(huì)體現(xiàn)出時(shí)代的審美潮流,甚至是藝術(shù)家個(gè)人的美學(xué)趣味。裝飾性存在于不同形式的藝術(shù)作品中,并在其中發(fā)揮著大小不一的作用。 工筆畫(huà)中裝飾性已有悠久的發(fā)展歷史,可以說(shuō)是工筆畫(huà)與生俱來(lái)的特質(zhì)。在中國(guó),從史前巖畫(huà)到原始的陶器繪畫(huà),從戰(zhàn)國(guó)兩漢時(shí)期的帛畫(huà)到魏晉以來(lái)的人物山水,再到今天的現(xiàn)代工筆畫(huà),裝飾性表現(xiàn)語(yǔ)言無(wú)處不在。但值得注意的是,繪畫(huà)在誕生伊始,并不是一項(xiàng)獨(dú)立存在的藝術(shù)門(mén)類(lèi)。關(guān)于繪畫(huà)的產(chǎn)生,藝術(shù)史界眾說(shuō)紛紜,有巫術(shù)說(shuō)、勞動(dòng)說(shuō)、游戲說(shuō),等等�？梢钥隙ǖ氖�,在很長(zhǎng)一段時(shí)期內(nèi),繪畫(huà)是作為器物的附屬而存在的,繪畫(huà)行為并不是一項(xiàng)獨(dú)立的活動(dòng)。在不斷的繪畫(huà)積累中,先民們逐漸將自己的審美情趣注入繪畫(huà),使其在滿(mǎn)足既定功能的基礎(chǔ)上,具有了裝飾的美感。作為中國(guó)畫(huà)的兩大門(mén)類(lèi),工筆畫(huà)與寫(xiě)意畫(huà)有著明顯的不同,工筆畫(huà)以工整細(xì)致為主要特色,而寫(xiě)意畫(huà)以“筆不到而意到”取勝；工筆畫(huà)以精細(xì)勾勒的線(xiàn)為主,而寫(xiě)意畫(huà)推崇水墨暈染；工筆畫(huà)的畫(huà)面效果是平面的,而寫(xiě)意畫(huà)在無(wú)意間營(yíng)造出縱深的意境……線(xiàn)性的繪畫(huà)、平面化的造型效果等,這些都是營(yíng)造裝飾性效果的必要元素,也是工筆畫(huà)的明顯特征。可以說(shuō),工筆畫(huà)以其獨(dú)特的技法、技巧,使中國(guó)畫(huà)的語(yǔ)言脫離貧乏,尤其是在提升裝飾性方面為中國(guó)畫(huà)的創(chuàng)作打開(kāi)了一扇門(mén)。進(jìn)入新時(shí)代,工筆畫(huà)從逐漸衰落的境遇中開(kāi)始了新的發(fā)展歷程,對(duì)傳統(tǒng)的繼承與創(chuàng)新是當(dāng)代工筆畫(huà)發(fā)展中所要面對(duì)的首要問(wèn)題。當(dāng)代工筆畫(huà)發(fā)展借鑒了外來(lái)藝術(shù)的裝飾元素,將其融入中國(guó)傳統(tǒng)繪畫(huà)語(yǔ)言中,為工筆畫(huà)注入了現(xiàn)代氣息。中國(guó)繪畫(huà)是內(nèi)容與形式的統(tǒng)一,學(xué)習(xí)傳統(tǒng)并發(fā)掘時(shí)代的審美變遷,工筆畫(huà)才能做到形式美與時(shí)代精神的結(jié)合。在傳統(tǒng)工筆畫(huà)的基礎(chǔ)上,當(dāng)代工筆畫(huà)已呈現(xiàn)出不同于傳統(tǒng)的視覺(jué)感受和內(nèi)在感情,在變幻莫測(cè)的現(xiàn)代社會(huì)背景下,工筆畫(huà)的發(fā)展還有待探索。
[Abstract]:Fine brush painting is one of the main forms of Chinese painting, corresponding to freehand brushwork. In the thousands of years of development process, the traditional fine brush painting created brilliant results. Decoration mainly refers to an aesthetic interest. In the process of artists' creation, the aesthetic trend of the times, or even the individual aesthetic interest of the artists, is either intentionally or unintentionally reflected in the works. Decorative works exist in different forms of art, and play a role of different sizes. Decorative painting has a long history of development, can be said to be the inherent characteristics of fine brushwork. In China, from prehistoric rock paintings to primitive pottery paintings, from silk paintings in the warring States and Han dynasties to the landscape since the Wei and Jin dynasties, and to modern meticulous paintings today, decorative expression languages are everywhere. But it is worth noting that painting was not an independent art category at the beginning of its birth. There are different views on the emergence of painting, such as witchcraft theory, labor theory, game theory, etc. To be sure, for a long time, painting existed as a subsidiary of objects, and painting behavior was not an independent activity. In the accumulation of painting, the ancestors gradually injected their aesthetic taste into painting, so that they had the aesthetic feeling of decoration on the basis of satisfying the established function. As two major categories of Chinese painting, fine brushwork and freehand brushwork are obviously different. Fine brushwork is the main feature of fine brushwork, while freehand brushwork is mainly characterized by "pen is not enough to be willing to win." Freehand brushwork canonized ink painting dizziness; the picture effect of fine brush painting is flat, and freehand brushwork creates a deep artistic conception in an unintentional way. Linear painting, flat modeling effect and so on, these are necessary elements to create decorative effect, but also the obvious characteristics of fine brushwork. It can be said that, with its unique techniques and skills, the language of Chinese painting out of poverty, especially in the promotion of decorative aspects for the creation of Chinese painting opened a door. Entering the new era, the fine brushwork has begun a new development process from the gradual decline of the circumstances, the inheritance and innovation of the traditional painting is the most important problem in the development of contemporary fine brushwork. The development of contemporary fine brushwork draws lessons from the decorative elements of foreign art and integrates it into the traditional Chinese painting language, which infuses modern flavor into the fine brushwork. Chinese painting is the unity of content and form, study tradition and explore the aesthetic changes of the times, fine brushwork can achieve the combination of formal beauty and the spirit of the times. On the basis of traditional fine brushwork painting, contemporary fine brushwork painting has presented different visual feelings and internal feelings from the traditional ones. Under the background of unpredictable modern society, the development of fine brushwork painting has yet to be explored.
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J212

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本文編號(hào)：1945774