【摘要】：中國畫是中國文化的表率[(16)],是中華民族傳統(tǒng)文化的重要組成部分,因此,中國畫的發(fā)展在當(dāng)代備受矚目也是毋庸置疑的。對于中國畫發(fā)展到當(dāng)代是前進(jìn)還是落后的問題,學(xué)術(shù)界也是議論紛紛。大的環(huán)境下要保持清醒,客觀的、深入的去研究這個問題。直接入手有點(diǎn)困難,但我們可以做的是從某一個方向去研究中國畫的發(fā)展,以此為切入點(diǎn),再做評價。從中國畫“個性”這個角度去研究,也是一個不錯的切入點(diǎn)�！皞�性”是一件藝術(shù)品區(qū)別于另一件藝術(shù)品的重要因素。有了“個性”才有了藝術(shù)的豐富性和生命力。中國畫的“個性”也彰顯著中國畫的豐富性和生命力。有了“個性”,一個畫家才能自立于藝術(shù)之林,一幅畫才能被視為稀有之珍寶。中國畫從古至今名家輩出,晉唐時期的“顧陸張吳”,北宋時期的李成、范寬,南宋時期的“李劉馬夏”,再到后來的元“四家”,明“四家”,清“四王”、“四僧”等等,師承傳授,筆墨精思,留下了宏富的藝術(shù)作品。他們的作品有特點(diǎn),有“個性”,彰顯了中國畫作為民族文化表率的無窮魅力。在我們看來,他們的作品就是傳統(tǒng),就是經(jīng)典。因此我們應(yīng)該多站在傳統(tǒng)這個巨人的肩膀上來審視我們當(dāng)代中國畫的發(fā)展。看看當(dāng)代的中國畫,在西方寫實(shí)主義浪潮的拍打下,中國畫逐漸的從寫意性開始向畫某一個具體的東西轉(zhuǎn)變。這不是什么好事。雖然說我們的科技有落后的地方,需要洋為中用,照搬過來,但是藝術(shù)的表達(dá)方式是不可以照搬的,尤其是對于中國畫這樣一種幾千年傳承下來,有著特定的藝術(shù)表達(dá)方法的藝術(shù)形式來說更是不可以的。中國畫不同于西方文化中對物狀形的“畫東西”[(17)],它是在畫一種東西背后的人的精神體驗(yàn)和感悟。你一旦想著怎么去畫好東西,那么實(shí)物層面就壓制了精神層面,那么作品本身所應(yīng)該包含的更高的、更有內(nèi)涵的精神層面便被削弱了,甚至等于零。在當(dāng)代,人們的物質(zhì)水平雖然提高了,但文化水平卻下降了,畫的好不好看卻成了中國畫的“重要”標(biāo)準(zhǔn),看畫的人也不再多注意畫外的意思。因此,畫畫的人就竭盡全力把畫畫的像,好看,制作之風(fēng)糜爛,只在表面上下功夫,逐漸的淪為了畫畫的“奴隸”。這樣的畫只能是裝飾品,談不上藝術(shù)品。這也是為什么當(dāng)代工筆畫盛行、寫意畫千篇一律的原因之一。問題出來了,起因何在?在于創(chuàng)作者本身�！耙獯婀P先”[(16)],先有了作品要表達(dá)的意境然后落筆,這樣的作品才有意思。這個“意”反映到創(chuàng)作者本身,就是表達(dá)創(chuàng)作者本身的體驗(yàn)和感悟,是“個性”的。當(dāng)代中國畫缺的就是這樣一種“個性”,一種對于自然人生的體驗(yàn)和感悟。這又能怪誰呢?看看吧,那些流傳下來的藝術(shù)珍品,都“躺”在博物館里,看一眼都要買票�？此迫珖舷露荚陲L(fēng)風(fēng)火火的搞美術(shù)展覽,中國畫還是沒有融進(jìn)人民的生活中去,中國畫還是束之高閣。藝術(shù)市場也多是投資者和收藏家的交易場所,真正是老百姓買畫的微乎其微,中國畫市場的自由度顯的尤為不足。學(xué)院的教育也呈現(xiàn)模式化的病態(tài)。學(xué)院成了培養(yǎng)畫畫機(jī)器的工廠,老師怎么畫,學(xué)生怎么畫,按部就班,并沒有系統(tǒng)學(xué)習(xí)中國畫的教學(xué)方式,結(jié)果消磨了學(xué)生本該有的“個性”,而那才是真正藝術(shù)所需要的。社會上也出現(xiàn)了一種叫做“名家班”的書畫培訓(xùn)方式,目的確實(shí)怎么迅速的讓學(xué)生成名,結(jié)果培養(yǎng)出來的大都是導(dǎo)師的復(fù)制品,跟自己的“個性”毫無關(guān)系。然而,導(dǎo)致這種“個性”缺失現(xiàn)象出現(xiàn)的因素有很多,也很復(fù)雜,不僅有外部因素,還有內(nèi)部因素。說到底,畫還是人畫出來的,中國畫“個性”的體現(xiàn)也是人“個性”的體現(xiàn),要是創(chuàng)作者本身缺乏了這種創(chuàng)作能力,那么畫出來的畫自然個性不起來。當(dāng)代,物質(zhì)文明對精神文明的沖擊,一定程度上影響了創(chuàng)作的自由,面對利益的趨使,創(chuàng)作者拋棄了中國畫本質(zhì)的,傳統(tǒng)的,民族性的東西,而去畫那些不帶自己感情色彩,不具有“個性”的作品,去迎合展覽,迎合市場。因此,如何在新的時代下去堅守中國畫的傳統(tǒng)陣營,保住中國畫民族性的血脈,發(fā)揚(yáng)中國畫的“個性”,就顯得尤為重要了。
[Abstract]:Chinese painting is the rate of Chinese culture [(16)]. It is an important part of Chinese traditional culture. Therefore, there is no doubt that the development of Chinese painting has attracted much attention in the present time. It is also a question of progress or backwardness in the development of Chinese painting to the present time. It is a little difficult to study this problem directly, but what we can do is to study the development of Chinese painting in a certain direction, and then to make an evaluation. From the perspective of "personality" in Chinese painting, it is also a good point of entry. "Personality" is an important factor in the difference between art and art. "Personality" has the richness and vitality of art. The "personality" of Chinese painting also highlights the richness and vitality of Chinese painting. With "personality", a painter can stand in the forest of art and a painting can be regarded as a rare treasure. Chinese paintings have come forth from ancient times to the present, "Gu Lu Zhang Wu" in the Jin and Tang Dynasties, the Northern Song Dynasty. Li Cheng, fan wide and "Li Liu Ma Xia" in the Southern Song Dynasty, then to the later yuan "four", "four", "four kings", "four monks", etc., were taught by teachers, and left the rich artistic works. Their works have characteristics and "personality", showing the infinite charm of Chinese painting as the expression of national culture. It seems to us that their work is the tradition, that is, the classic. So we should stand on the shoulders of the traditional giant to look at the development of our contemporary Chinese painting. Look at the contemporary Chinese painting. Under the flapping of the wave of western realism, Chinese painting gradually begins to change from the freehand brushwork to a specific thing. What a good thing. Although we have a backward place in science and technology, we need to make foreign use and copy it, but the expression of art can not be copied, especially for Chinese painting, which has been inherited for thousands of years and has a specific art form of artistic expression. Chinese painting is different from Western culture. In the form of "painting" (17), it is the spiritual experience and perception of people behind a kind of thing. Once you think about how to draw good things, then the physical level suppresses the spiritual level. Then the higher, more intension of the work itself should be weakened, even equal to zero. In the present time, people Although the level of material improvement, but the level of culture has fallen, the painting has become the "important" standard of Chinese painting, and the people of the painting no longer pay much attention to the meaning of the painting. Therefore, the painting people do their best to make the picture like, look good, make the wind eroding, only on the surface, gradually reduced to painting " "Slaves". Such paintings can only be ornaments, no art of art. This is one of the reasons why contemporary painting is popular, and one of the reasons for the monotony of freehand brushwork is one of the reasons. What is the problem? It is the author itself. "The meaning of the pen first" [(16]] first has the artistic conception to be expressed and then the writing is interesting. "It is reflected in the creator itself, that is to express the experience and perception of the creator itself. It is a" personality ". The contemporary Chinese painting is short of such a" personality ", a kind of experience and perception of natural life. Tickets. It seems that all the country and the country are doing fine art exhibitions in the wind and fire. Chinese painting has not melted into the people's life. Chinese painting is still on the shelf. The art market is also a place for investors and collectors. The real people buy paintings are very small. The freedom of Chinese painting market is particularly inadequate. The education of the college is also the same. The college has become a morbid pattern. The college has become a factory for drawing a painting machine. How the teacher draws, how the students draw, and the students do not systematically learn the teaching methods of Chinese painting. The result is the "personality" that the students should have, and that is what the real art needs. A kind of calligraphy and painting, called "the famous class", has also appeared in the society. The purpose of the training is to make the students become famous quickly, and the result is that most of them are the replicas of the tutors, which have no relation to their own "personality". However, there are many and complicated factors that lead to the phenomenon of the lack of personality. The embodiment of the "personality" of the Chinese painting is also the embodiment of "personality". If the creator itself lacks this creative ability, the painting natural personality is not up. Contemporary, the impact of the material civilization on the spiritual civilization, to a certain extent, influenced the freedom of creation. In the new era, how to stick to the traditional camp of Chinese painting, keep the blood of Chinese painting, and develop the "personality" of Chinese painting, is particularly important.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J212

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