【摘要】：本文主要闡述“意臨”是中國山水畫從臨摹到寫生的過渡階段,提倡“意臨”是為創(chuàng)作服務,反對僵硬的臨摹。臨摹一直以來都是我們在中國山水畫學習中的一個主要過程。臨摹的學習過程中,我們可以學習古人筆墨技法、構圖造型、設色以及韻味等許多經驗和方法,但是如果注意的只是這些,那就算是臨摹的分毫不差相當嚴謹,而不融入個人經驗和感情色彩,甚至對原作者的構思和想法都不了解,而只是注重各種技法和程式化的應用,這樣畫出的繪畫作品雖然看起來很完整,但是卻少了最能打動人的精神和氣韻。在我國中國畫壇上許多畫家都是從臨摹開始的,例如：黃秋園、張大千等,他們都是從臨摹開始打基礎,然后創(chuàng)造出了自己的繪畫風格。創(chuàng)作才是中國山水畫臨摹的最終目標。臨摹是訓練我們擁有成熟的筆墨技法,來為創(chuàng)作做基礎準備,而“意臨”是臨摹到創(chuàng)作的轉換過程,它是一種潛在的創(chuàng)作,而不是一種簡單的模仿。以“我”入畫,本乎“我”意,主體精神的掌控,才是我們“意臨”的中心需要,中國山水畫的創(chuàng)作才不至于公式化。從自身主體的精神和情感上全面的把握臨摹,才是中國山水畫學習的捷徑。 中國山水畫的“意臨”是一門需要用心鉆研的學問。山水畫的“意臨”既需要臨摹者深入地掌握傳統(tǒng)的筆墨技法精華,同時又需要在意臨的時候求新求變,需要逐步擺脫掉傳統(tǒng)對繪畫作品的束縛,從而使自己的繪畫作品擁有新的生機。這也是中國山水畫“意臨”的難處和妙處。
[Abstract]:This paper mainly expounds that "Italy Lin" is the transitional stage of Chinese landscape painting from copying to sketching, and advocates that "Italy Pro" serves for creation and opposes rigid copying. Copying has always been a major process in our study of Chinese landscape painting. In the learning process of copying, we can learn many experiences and methods, such as ancient ink techniques, composition, color and charm, etc. But if this is all we pay attention to, then the division of copying is quite precise. Instead of incorporating personal experience and emotional color, not even understanding the original author's ideas and ideas, but only focusing on various techniques and stylized applications, the paintings drawn in this way may appear to be complete. But without the most touching spirit and charm. In China, many painters started from copying, for example: Huang Qiuyuan, Zhang Daqian, etc., they all started from copying, and then created their own painting style. Creation is the ultimate goal of Chinese landscape painting copying. Copying is to train us to have mature pen and ink techniques to prepare the foundation for creation, while "Italy Pro" is a process of conversion from copy to creation, which is a potential creation, not a simple imitation. It is the control of the subject spirit and the original meaning of "I" that is the central need of our "Italy", so that the creation of Chinese landscape painting will not be formulaic. It is the shortest way to study Chinese landscape painting to grasp copying in spirit and emotion. The idea of Chinese landscape painting is a study that needs to be studied carefully. The "Yi Pro" of landscape painting not only requires the copyist to master the essence of traditional brush-ink techniques deeply, but also needs to pay attention to the new and changing times, and need to get rid of the shackles of traditional painting works step by step. So that their paintings have a new vitality. This is also the difficulty and beauty of Chinese landscape painting.
【學位授予單位】：東北師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

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本文編號：2206910