【摘要】：象征自古有之,從原古時期,追溯到當(dāng)下的社會,象征作為一種藝術(shù)表現(xiàn)手法,在中國畫作品中也承上啟下的發(fā)展起來了,在歷史發(fā)展的每一個階段,中國畫中象征符號在內(nèi)容和形式上都是各不相同的。在經(jīng)濟的快速發(fā)展下,人們對于物質(zhì)需求的滿足,對于審美的需求更多了,傳統(tǒng)的工筆人物畫相對于當(dāng)代的工筆人物畫顯得愈加不能滿足現(xiàn)代社會大眾的審美需求,傳統(tǒng)的工筆人物畫對于精神層面的追求于當(dāng)代生活現(xiàn)實相隔甚遠,不具有滿足現(xiàn)實精神的思想觀念和內(nèi)涵。在如此開放的環(huán)境下,象征性的符號形式強化了呈現(xiàn)時代審美特征的特質(zhì),其涵蓋表現(xiàn)的維度更加寬廣。中國當(dāng)代工筆人物畫中,特別是“新工筆”藝術(shù)家們“觀念先行”的思維模式,使題材的廣泛性,形式的多樣化,材料技法的豐富性,色彩更加的大膽等多方面都有了新的突破。適應(yīng)了現(xiàn)代大眾的審美所需。在時下的文化語境下,藝術(shù)家在進行人物畫創(chuàng)作時,對物象進行概括提煉,使其更加簡練,更為理想化,將象征性涵蓋其中,使畫面意味更加深刻。各種觀念的支配下,象征性的符號亦是不同的。具有東方色彩的中國工筆畫,在當(dāng)代工筆人物畫的造型中,象征性的造型以不同的姿態(tài)傳達出更為豐富神秘的色彩。本文通過五個章節(jié)來進行闡述,第一章為緒論,第二章主要對造型的含義,造型的觀念,造型的吸收這幾個方面進行論述。第三章主要是闡釋工筆人物畫中造型的象征性,主要從以下幾個方面:象征的含義;傳統(tǒng)工筆人物畫造型的象征性特征等論述。其中論述了在中國傳統(tǒng)工筆人物畫中哪些作品是具有象征意義的,通過對傳統(tǒng)人物畫代表作品來剖析出其象征意義及其表現(xiàn)形式,如:《人物龍鳳圖》、《人物御龍圖》、《T形旌幡帛畫》等等。第四章主要是論述當(dāng)代工筆人物畫中造型的象征性審美特征及其應(yīng)用。對其審美特征進行了一定的論述,以及詳細地探討了當(dāng)代工筆人物畫中造型的象征性有哪些,同時列舉一些當(dāng)代極具影響力的一些畫家,如:徐累,張見,徐華翎、王仁華等。從這些作品中所具有的象征意義,可以將當(dāng)代工筆人物畫中造型的象征性分為:觀念性象征、情感性象征、時空重構(gòu)性象征和強化性象征。。第五章主要是結(jié)合自己的創(chuàng)作作品,來闡釋象征性的表達以及象征性對自我創(chuàng)作的啟示。通過自身作品的呈現(xiàn),認識到所處時代的文化背景下,畫家首先以立意為先,布置緣飾為次,靜立于已有事實之外,反復(fù)思考自己的畫面,偶爾需要與自己的畫面保持一種距離,不斷地在工筆人物畫創(chuàng)作中應(yīng)用象征性手法以滿足畫面外在呈現(xiàn)效果和內(nèi)在美的需求,從而能為工筆人物畫的新格局做出自己一點點貢獻。本文研究的主要對象是關(guān)于造型的象征性因素在當(dāng)代工筆人物畫中的審美特征和象征意義。本文的主要論點是研究造型的象征性因素在工筆人物畫藝術(shù)創(chuàng)作中顯示出來的豐富的美學(xué)本質(zhì),通過恰當(dāng)?shù)倪\用象征性來豐富當(dāng)代工筆人物畫藝術(shù)創(chuàng)作。通過初步構(gòu)想研究工筆人物畫領(lǐng)域中的代表人物的作品,對其作品中的表現(xiàn)形式和表現(xiàn)內(nèi)容進行細致的研究,融入自己的繪畫創(chuàng)作當(dāng)中。
[Abstract]:Symbolizing from ancient times, from the original ancient times, back to the present society, the symbol as a kind of artistic expression, also developed in the Chinese painting works. In each stage of the historical development, the symbols in Chinese painting are different in the content and form. In the rapid economic development, the people are to the material. The demand for the satisfaction of the aesthetic needs more, the traditional brushwork figure painting is more unable to meet the modern social people's aesthetic needs. The traditional pen figure painting is far apart from the reality of the contemporary life, and does not have the idea and connotation to meet the realistic spirit. In such an open environment, the symbolic form of symbol strengthens the characteristics of the aesthetic characteristics of the times, and its dimensions are wider. In Chinese Contemporary Meticulous figure painting, especially the "new work pen" artists' thinking mode of "conception first", the versatility of the subject matter, the diversification of the form, and the richness of the material techniques are made. A new breakthrough has been made in many aspects such as color and boldness. It is adapted to the aesthetic needs of the modern public. In the current cultural context, the artist generalizes and idealizes the image in the creation of the figure painting, making it more concise, more idealized, emblematic of it, and making the picture more profound. Under the control of various ideas, Symbolic symbols are different. Chinese painting with Oriental color, in the modeling of contemporary brushwork figure painting, the symbolic shape conveys a more rich and mysterious color with different posture. This article is expounded through five chapters. The first chapter is the introduction, the second chapter is mainly to the meaning of modeling, the concept of modeling, and the modeling. The third chapter is mainly to explain the symbolism of the styling in the figure painting, mainly from the following aspects: the meaning of the symbol, the symbolic features of the traditional figure painting, which is the symbolic meaning in the Chinese traditional brushwork figure painting, through the traditional people. Painting representative works to analyze its symbolic meaning and its form of expression, such as: "figure dragon and Phoenix Map >", "character Royal Dragon Map >, " and so on. The fourth chapter mainly discusses the symbolic aesthetic characteristics and its application of contemporary style painting in the figure painting. The aesthetic features are discussed, and the contemporary works are discussed in detail. What are the symbolic features of the figure painting, and enumerates some contemporary highly influential painters, such as Xu, Zhang, Xu Hualing, Wang Renhua and so on. From the symbolic meanings of these works, the symbolism of the styling in the contemporary works can be divided into the symbolism of the conceptual, the emotional, the symbol and strengthening of the time and space reconstruction. The fifth chapter mainly combines his own creative works to explain the symbolic expression and the inspiration of the symbolic self creation. Through the presentation of his own works and the understanding of the cultural background of the times, the painter first takes the idea as the first, the arrangement of the fate as the first, the static in the existing facts, and the repeated reflection of his own picture. I need to keep a distance from the picture of his own, and constantly apply the symbolic technique in the creation of the figure painting to meet the external rendering effect and the internal beauty of the picture, so that it can make a little contribution to the new pattern of the figure painting. The main argument of this article is to study the rich aesthetic essence of the symbolic elements in the artistic creation of the figure painting, and to enrich the artistic creation of the Contemporary Meticulous figure painting through the proper use of symbolism. The works of characters are meticulously studied in the form and content of their works, integrating into their own paintings.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

【引證文獻】

中國期刊全文數(shù)據(jù)庫 前1條

1 卜維芳;;探析當(dāng)代工筆人物畫的多元發(fā)展[J];美與時代(中);2018年01期

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本文編號：2143915

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