發(fā)布時間：2018-06-21 00:01

  本文選題：藏族題材 + 工筆人物畫　； 參考：《曲阜師范大學》2017年碩士論文

【摘要】：藏族題材工筆人物畫創(chuàng)作發(fā)展至近代,以西藏1951年和平解放為轉(zhuǎn)折點,藏族題材工筆人物畫創(chuàng)作經(jīng)歷了歷史傳承、政策約束、文革十年和改革開放的影響。隨后,這塊“神秘的土壤”便開始漸漸被大家發(fā)掘,緊接著越來越多的內(nèi)地藝術(shù)家也開始把描繪藏族題材作為抒發(fā)自己藝術(shù)理想的“沃土”,豐富中國繪畫理論與實踐的同時,也讓更多的人通過創(chuàng)作者們的勞動成果認識了西藏、了解了西藏。西藏,作為一個圣城,有其獨特的地域特質(zhì)——獨特的文化符號(像寺廟、經(jīng)幡、瑪尼堆,轉(zhuǎn)經(jīng)桶等),獨特的民族服裝和精美的工藝飾品,獨特的雪域風光,還有勤勞勇敢的藏族人民等等;這些獨具特色和別具一格的風土人情,共同構(gòu)成了這個美麗的城市,它為藝術(shù)家開啟了新的創(chuàng)作靈感,也為藝術(shù)家提供了源源不斷地、較為鮮活的創(chuàng)作素材。論文研究的主要目的在于:理清(2010-2015)年間藏族題材工筆人物畫創(chuàng)作的發(fā)展概況,分析、總結(jié)其間創(chuàng)作的主要藝術(shù)特點,發(fā)現(xiàn)并歸納其間存在的主要問題,進而從宏觀上把握該課題的發(fā)展趨勢。論文內(nèi)容的主要框架分為五個部分:第一部分主要是對藏族題材工筆人物畫創(chuàng)作發(fā)展的概述,包括兩個方面的內(nèi)容:一是對其追根溯源,二是總體發(fā)展脈絡。第二部分是對藏族題材工筆人物畫創(chuàng)作中常見素材的分類,以及它們在相關(guān)創(chuàng)作當中的具體體現(xiàn)。第三部分是論文的核心章節(jié),共分為三個小節(jié)的內(nèi)容,主要是依據(jù)畫家生長的地域和畫家入藏的時間對其創(chuàng)作的作品采用了新的劃分方式,即1.駐藏畫家相關(guān)創(chuàng)作特點分析,2.本土畫家相關(guān)創(chuàng)作特點分析,3.內(nèi)地畫家相關(guān)創(chuàng)作特點分析;主要分析和歸納了(2010-2015)年間駐藏畫家、本土畫家以及內(nèi)地畫家相關(guān)創(chuàng)作作品的特點。第四部分是論文的重點章節(jié),主要從時代精神和個體情懷兩個方面介紹了近幾年(2010-2015)藏族題材工筆人物畫創(chuàng)作中體現(xiàn)出的新內(nèi)涵。最后一部分是在前幾部分研究內(nèi)容的基礎(chǔ)上,對(2010-2015)年間藏族題材工筆人物畫創(chuàng)作中存在的主要問題進行分析總結(jié),并對其發(fā)展趨勢做出進一步的展望。論文主要采用以下研究方法:一、文獻研究法:查閱相關(guān)文獻資料,了解藏族的地域特征、歷史文化及風土人情,了解前人研究現(xiàn)狀等,此方法貫穿該論文研究的始終,對論文的順利開展至關(guān)重要;二、作品分析法:對相關(guān)創(chuàng)作作品藝術(shù)風格及特點進行分析時,主要采用此方法,這也是該論文的一個比較重要的研究方法;三、對比分析法:對比較典型的相關(guān)作品進行相關(guān)比較,總結(jié)他們藝術(shù)創(chuàng)作的異同點,增加論文的說服力;四、藝術(shù)考察法:以文獻研究作為理論指導,深入藏族地區(qū)進行藝術(shù)考察,爭取搜集到一手的相關(guān)圖文資料,為該課題的理論研究提供更為詳實的數(shù)據(jù)。綜上,論文主要觀點即,只有真正深入藏區(qū)去體驗當?shù)厝嗣竦纳?增加相關(guān)的生活經(jīng)驗,才能產(chǎn)生思、想,創(chuàng)作出的作品才算得上有感而發(fā),作品才會真實感人;否則,徒有其表終不能被大家記住太久。希冀藏族題材工筆人物畫創(chuàng)作還能有更為可喜的發(fā)展和變化。
[Abstract]:Tibetan theme meticulous figure painting development to modern times, Tibet peaceful liberation in 1951 as a turning point, the creation of the Tibetan nationality theme painting has undergone historical inheritance, policy constraints, effects of ten years of the cultural revolution and the reform and opening up. Subsequently, this "mysterious soil" began to be excavated, followed by more and more mainland artists Began to depict the Tibetan nationality theme to express their artistic ideals as "fertile soil", rich Chinese painting theory and practice at the same time, also let more people through the results of the creator of the labor understanding of Tibet, understanding Tibet. Tibet, as a city, with its unique geographical characteristics, unique cultural symbols (like the temple, prayer flags Turn the barrel, eight, etc.), unique ethnic costumes and exquisite craft jewelry, unique snowy scenery, and the Tibetan people are industrious and brave and so on; these unique and have a unique style of the local customs and practices, together constitute the beautiful city, it is an open new inspiration for the artist offers Everfount Fresh, more creative material. The main purpose of this thesis is to clarify: (2010-2015) analysis of development situation between Tibetan theme meticulous figure painting, mainly summarizes its artistic features of creation, and found the main problems existing during the induction, and then from the macro to grasp the development trend of the main content of the thesis topic. The framework is divided into five parts: the first part is an overview of the Tibetan theme meticulous figure painting development, including two aspects: one is on its back, two is the overall development. The second part is the common material classification of the Tibetan nationality theme painting creation, and their creation of the relevant specific body Now. The third part is the core section of the paper is divided into three sections, is mainly based on the works of painters growth region and painter Tibet time on the creation of the new division, namely the analysis of 1. Tibet related artists creative characteristics, analysis of 2. local artists creative characteristics, 3. mainland the relevant features of creative artist Analysis; mainly analyzed and summarized (2010-2015 years) by the painter, artist and painter of the characteristics of local mainland related works. The fourth part is the key chapter of this paper, mainly from the two aspects of the spirit of the times and the individual feelings introduced in recent years (2010-2015) new connotation reflects the Tibetan theme meticulous figure painting in the last. Part of the basic research contents of former parts, (2010-2015) the main problems during the Tibetan theme meticulous figure painting in the summary of the analysis, and made a further prospect of its development trend. This paper uses the following research methods: literature research method: a review of relevant literature, understand the Tibetan regional characteristics Sign, historical culture and local customs and practices, understand the previous research, this method through the research on the smooth development of the beginning, two, is essential; work analysis: carries on the analysis to the related works of artistic style and features, mainly by using this method, an important research method of this thesis is the on the three; Ratio analysis: compared to typical works, summarize their art of the similarities and differences, increase the persuasion; four, art investigation method: the literature research as a theoretical guidance for in-depth study of Tibetan art area, strive to collect relevant information in one hand, the theoretical research on the subject provide more Detailed data. To sum up, the main view is that the only true depth Tibetan to experience the life of local people, increase the experience, to produce, to create works, I can, work will be realistic; otherwise, only the table will not be remembered for a long time. Hope the Tibetan nationality theme figure painting Creation can have more gratifying development and change.
【學位授予單位】：曲阜師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212

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本文編號：2046233