淺談中國人物畫背景與人物的關(guān)系
發(fā)布時間：2018-07-25 19:23
【摘要】：中國人物畫是伴隨著人類社會文化共同發(fā)展的，早期的人類對生命的看重高于一切，對身邊的環(huán)境還缺乏認(rèn)知，而繪畫在很長時間內(nèi)也多是反映的人類自身，畫面中的“背景”都是以簡單的裝飾圖案出現(xiàn)的。本文基于充分肯定了“背景”在中國人物畫作用的基礎(chǔ)上，總結(jié)和分析了傳統(tǒng)與現(xiàn)代人物畫中人物與背景的處理特點(diǎn)，，并從宗教，哲學(xué)，政治，軍事，經(jīng)濟(jì)等各方面深層剖析了這些特點(diǎn)的形成。例如，五代兩宋時期是中國歷史上少數(shù)幾個高度重視繪畫的時代之一，期間各種題材的繪畫都有一定的發(fā)展，人物畫也達(dá)到了人與背景的完美融合。宋代畫風(fēng)精細(xì)嚴(yán)謹(jǐn)，既工致寫實又不失意趣，豐富了人物與背景的表現(xiàn)特色；明清人物畫是五代兩宋繪畫的延續(xù)，更加強(qiáng)調(diào)主觀情感的表達(dá)方式。畫面中背景通過巧妙的布白和落款表達(dá)主觀情感的意趣風(fēng)格，逐漸形成了自己民族繪畫的語言特點(diǎn)。到了現(xiàn)代人物畫中的“背景”已經(jīng)符號化、圖式化，變成畫面語言的一部分。 在本文中，傳統(tǒng)與現(xiàn)代人物畫中“背景”的處理形成對比，傳統(tǒng)中國人物畫中通過人物與背景的處理來描述出不同時間、不同場面的人和景物構(gòu)成分段式的畫面,但又不失統(tǒng)一而整體的畫面,形成畫面散點(diǎn)透視的特征�，F(xiàn)代人物畫人與背景的處理特點(diǎn)一反傳統(tǒng)中的留空白習(xí)慣,追求畫面的飽滿充實,對人物與背景進(jìn)行解構(gòu)、疊壓、重組等方式,加強(qiáng)畫面的對比效果,產(chǎn)生新的秩序感。由此，畫家也注重融合傳統(tǒng)與現(xiàn)代合理因素的基礎(chǔ)上尋求創(chuàng)新，并在實踐中尋求創(chuàng)作源泉。在比較的同時，有相似之處就有差異之處，即傳統(tǒng)人物畫家深受傳統(tǒng)哲學(xué)思想影響，更加強(qiáng)調(diào)畫面背景的意境表達(dá)。本文最后總結(jié)了人物畫中人物和背景融洽的關(guān)系，具體表現(xiàn)在四個方面：第一，既然人物畫在傳統(tǒng)與現(xiàn)代中都出現(xiàn)過優(yōu)秀的藝術(shù)作品,無可質(zhì)疑就要遵從人物與背景關(guān)系的發(fā)展規(guī)律,否則就失去了人物畫的真諦;第二，要情理交融，寄情于景，畫家有自己的情感體驗，通過人物和背景的處理傳遞出自己的感情和意圖；第三，注重中國傳統(tǒng)文化，畫家更多地了解中國的傳統(tǒng)文化，體會傳統(tǒng)人物畫的神韻，這可能會使現(xiàn)代人物畫有更大的成就；第四，必須重視筆墨的運(yùn)用，背景所呈現(xiàn)的筆墨、色彩、形象等體現(xiàn)出來的藝術(shù)氣息對畫面感也起到了不可忽視的作用。
[Abstract]:Chinese figure painting is accompanied by the common development of human society and culture, the early human value of life above all, the environment around the lack of cognition, and painting in a long time is also a reflection of human beings themselves. The background in the picture is a simple decorative pattern. On the basis of fully affirming the role of "background" in Chinese figure painting, this paper summarizes and analyzes the processing characteristics of characters and background in traditional and modern figure painting, and from the perspective of religion, philosophy, politics, military affairs, Economic and other aspects of the deep analysis of these characteristics of the formation. For example, the period of five dynasties and two Song dynasties is one of the few times in Chinese history that attaches great importance to painting. During this period, painting of various subjects has developed to a certain extent, and figure painting has also reached the perfect fusion of people and background. The painting style of the Song Dynasty is fine and rigorous, which not only makes the painting realistic and interesting, but also enriches the performance characteristics of the characters and the background; the figure painting of the Ming and Qing dynasties is a continuation of the paintings of the five dynasties and the Song Dynasty, and emphasizes the expression of subjective emotion. The background has gradually formed the linguistic characteristics of its own national painting through its clever style of expressing subjective feelings. By the time the background in modern figure painting has been symbolized and schematized, it has become part of the picture language. In this paper, the treatment of "background" in traditional and modern figure painting forms a contrast. In traditional Chinese figure painting, people and scenery of different time and different scenes are described by the processing of characters and background to form a segmented picture. But without losing the unity and the overall picture, forming the characteristics of the perspective of the picture scattered point. The processing characteristic of modern figure painting is to reverse the habit of leaving blank in the tradition, to pursue the fullness and fullness of the picture, to deconstruct, superpress and reorganize the characters and the background, to strengthen the contrast effect of the picture, and to produce a new sense of order. Therefore, painters also pay attention to the combination of traditional and modern reasonable factors to seek innovation, and seek creative source in practice. At the same time, there are similarities and differences, that is, the traditional figure painter is deeply influenced by the traditional philosophy, and emphasizes the artistic conception expression of the picture background. In the end, the author summarizes the harmonious relationship between the characters and the background in the figure painting, which is embodied in four aspects: first, since the figure painting has appeared excellent works of art in both traditional and modern times, Without doubt, we must abide by the laws of the development of the relationship between the characters and the background, or else we will lose the true meaning of the figure painting. Second, if we want to have a mixture of reason and reason, and send our feelings to the scene, the painter will have his own emotional experience. Third, pay attention to the Chinese traditional culture, the painters know more about the traditional Chinese culture, understand the charm of the traditional figure painting, this may make the modern figure painting have more achievements; Fourth, we must pay attention to the use of ink and brush, the background of ink, color, image and other reflected by the artistic atmosphere of the picture also played a role that can not be ignored.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212
本文編號：2144825
[Abstract]:Chinese figure painting is accompanied by the common development of human society and culture, the early human value of life above all, the environment around the lack of cognition, and painting in a long time is also a reflection of human beings themselves. The background in the picture is a simple decorative pattern. On the basis of fully affirming the role of "background" in Chinese figure painting, this paper summarizes and analyzes the processing characteristics of characters and background in traditional and modern figure painting, and from the perspective of religion, philosophy, politics, military affairs, Economic and other aspects of the deep analysis of these characteristics of the formation. For example, the period of five dynasties and two Song dynasties is one of the few times in Chinese history that attaches great importance to painting. During this period, painting of various subjects has developed to a certain extent, and figure painting has also reached the perfect fusion of people and background. The painting style of the Song Dynasty is fine and rigorous, which not only makes the painting realistic and interesting, but also enriches the performance characteristics of the characters and the background; the figure painting of the Ming and Qing dynasties is a continuation of the paintings of the five dynasties and the Song Dynasty, and emphasizes the expression of subjective emotion. The background has gradually formed the linguistic characteristics of its own national painting through its clever style of expressing subjective feelings. By the time the background in modern figure painting has been symbolized and schematized, it has become part of the picture language. In this paper, the treatment of "background" in traditional and modern figure painting forms a contrast. In traditional Chinese figure painting, people and scenery of different time and different scenes are described by the processing of characters and background to form a segmented picture. But without losing the unity and the overall picture, forming the characteristics of the perspective of the picture scattered point. The processing characteristic of modern figure painting is to reverse the habit of leaving blank in the tradition, to pursue the fullness and fullness of the picture, to deconstruct, superpress and reorganize the characters and the background, to strengthen the contrast effect of the picture, and to produce a new sense of order. Therefore, painters also pay attention to the combination of traditional and modern reasonable factors to seek innovation, and seek creative source in practice. At the same time, there are similarities and differences, that is, the traditional figure painter is deeply influenced by the traditional philosophy, and emphasizes the artistic conception expression of the picture background. In the end, the author summarizes the harmonious relationship between the characters and the background in the figure painting, which is embodied in four aspects: first, since the figure painting has appeared excellent works of art in both traditional and modern times, Without doubt, we must abide by the laws of the development of the relationship between the characters and the background, or else we will lose the true meaning of the figure painting. Second, if we want to have a mixture of reason and reason, and send our feelings to the scene, the painter will have his own emotional experience. Third, pay attention to the Chinese traditional culture, the painters know more about the traditional Chinese culture, understand the charm of the traditional figure painting, this may make the modern figure painting have more achievements; Fourth, we must pay attention to the use of ink and brush, the background of ink, color, image and other reflected by the artistic atmosphere of the picture also played a role that can not be ignored.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 徐悲鴻;中國畫改良論[J];藝術(shù)探索;1999年02期
本文編號：2144825
本文鏈接：http://sikaile.net/wenyilunwen/huihuayishu/2144825.html
