【摘要】：線條是中國繪畫的重要組成部分,也是中國繪畫區(qū)別于其他繪畫的造型語言。遠(yuǎn)在唐代,張彥遠(yuǎn)的《歷代名畫記》中就曾提出:“無線者非畫也�！苯�(jīng)過千余年的洗煉,我國的國畫藝術(shù)早已離不開線條這一藝術(shù)語言。通過線條,中國畫以流動婉轉(zhuǎn)的風(fēng)格作為整幅畫的主旋律,對不同物象的質(zhì)感以及形態(tài)結(jié)構(gòu)進行勾勒,以不同的線質(zhì)表達(dá)藝術(shù)家的性情和藝術(shù)態(tài)度。20世紀(jì)以來,中國意筆人物畫線條受到了各種外來多元文化的沖擊,產(chǎn)生了更豐富的繪畫面貌。其中,現(xiàn)實主義繪畫風(fēng)格的“徐蔣體系”成為主導(dǎo),奠定了近現(xiàn)代意筆人物畫的基礎(chǔ),受其影響,大量優(yōu)秀作品相繼誕生。此后,在“星星美展”、八五思潮藝術(shù)運動的推動下,意筆人物畫又迎來第二次高潮,筆墨形式與時代精神緊密相連,畫面中開始融入更加多姿多彩的藝術(shù)語言及表達(dá)方式,線條亦隨之改變。面對當(dāng)下“中西合璧”的藝術(shù)現(xiàn)狀,有支持者亦有反對者,在與線有關(guān)的論文中,人們多選擇從視覺角度直接進行畫風(fēng)、造型及技巧的分析,而缺乏一種對線質(zhì)內(nèi)在的、深入的探索,故本文將對中國繪畫史上線的變化進行系統(tǒng)梳理,研究人物畫中線條衍變和時代審美之間的關(guān)系,總結(jié)其一般規(guī)律,進而從創(chuàng)作角度對意筆人物畫進行分解并探求其時代意義。
[Abstract]:Line is an important part of Chinese painting, is also different from other Chinese painting modeling language. As far back as the Tang Dynasty, Zhang Yanyuan's famous paintings of the past dynasties, once said: "Wireless is not painting." After more than a thousand years of refining, Chinese painting art has been inseparable from the line of art language. Through the lines, the Chinese painting takes the flowing and tactful style as the main melody of the whole painting, outlines the texture and structure of the different objects, and expresses the artist's temperament and artistic attitude in different lines since the 20th century. The line of Chinese Italian figure painting has been impacted by various foreign multi-cultures, which has produced a richer painting appearance. Among them, the realistic painting style of "Xu Jiang system" became the dominant, laid the foundation of modern Italian figure painting, by its influence, a large number of excellent works have been born. Since then, under the impetus of the "Star Art Exhibition" and the eighth Five-Year Plan of thought Art Movement, the Italian figure painting has ushered in a second climax. The form of the pen and ink is closely linked to the spirit of the times, and the picture has begun to incorporate more colorful artistic language and expression. The line changes with it. In the face of the present art situation of "the combination of Chinese and Western", there are supporters and opponents. In the articles related to the line, people choose to analyze the painting style, modeling and skills directly from the visual angle, and lack a kind of inherent quality of the line. Therefore, this paper will systematically comb the changes in the history of Chinese painting, study the relationship between the evolution of lines in figure painting and the aesthetic appreciation of the times, and summarize its general rules. Then from the creative point of view of Italian figure painting decomposition and explore its significance of the times.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

【參考文獻】

相關(guān)期刊論文 前10條

1 范麗芳;;探討中國畫的形式語言[J];大眾文藝;2010年19期

2 鄒全;;解析中國畫的點、線、面[J];美術(shù)大觀;2010年09期

3 呼志遠(yuǎn);;談中國畫專業(yè)的線描訓(xùn)練[J];大眾文藝;2010年15期

4 盧曉波;;試論中國畫線描的藝術(shù)表現(xiàn)[J];美術(shù)大觀;2010年08期

5 陶月利;;中國畫的創(chuàng)新與發(fā)展——試析中國畫的“尚形”與“尚意”[J];文學(xué)界(理論版);2010年06期

6 商進;;論線描在山水畫寫生中的核心地位[J];藝術(shù)探索;2010年03期

7 楊宗威;;中國畫線造型的審美意識與個性表現(xiàn)[J];藝術(shù)研究;2010年02期

8 王愿石;;論李公麟的白描藝術(shù)[J];安徽工業(yè)大學(xué)學(xué)報(社會科學(xué)版);2010年02期

9 劉曉丹;;略談中國山水畫中線語言的表現(xiàn)形式[J];文藝生活(藝術(shù)中國);2010年01期

10 賀平;;論中國畫的“線”[J];湖南人文科技學(xué)院學(xué)報;2009年06期

，

本文編號：2161779