介入的“素描”
發(fā)布時間：2018-08-28 08:15
【摘要】：“素描”作為西方藝術的舶來品，是通過日本對西方語言的翻譯從而被納入中國語言系統(tǒng)，并在中國的藝術發(fā)展中經歷了曲折的風雨歷程。從二十世紀初期，素描這種藝術形式正式進入中國人的視野至今，素描介入中國畫造型基礎訓練已有一百多年的歷史。這種異質藝術語言的引入，并介入中國畫教學，對中國畫的造型基礎訓練方式產生重大影響，同時也使中國傳統(tǒng)繪畫的筆墨與西方明暗寫實技法的探索成為一種艱難的精神之旅。 在中國的藝術發(fā)展史上，中國的藝術大師們對于中西方繪畫的融合也做了很多努力，雖然這些藝術實踐在一定程度上取得過一些成績，但這種不同文化背景下的介入必將引發(fā)一系列問題。由于中國畫在造型基礎訓練中有著自己獨特的觀察方法和認知方式，這種特殊性正是素描無法解決中國繪畫問題的關鍵所在。中國繪畫藝術中審美語言的魅力和感染力來源于其獨有的造型手法——用筆造型和用墨造型。同時，這種根植于線造型的筆墨審美也正是素描無法解決的問題之一。毛筆宣紙上的造型能力賦予中國畫獨特的藝術審美價值。中國畫的以線造型既不完全依附于形體又不隨意突破用筆手法程式。造型上以追求“似與不似之間”作為評判的標準。唐代張彥遠提出“形似之外求其畫”就是主張藝術作品的主觀內心表現，強調主客體的統(tǒng)一。因此，中國畫的用線具有相對獨立的審美價值，是用以傳達作者對于外在物象的一種精神體驗的手段和方式，，是完全依附于物象形體的西方傳統(tǒng)素描用線所無法解決和取代的。 而西方素描的引入則在一定程度上打破了中國畫但求筆墨而不求造型的傳統(tǒng)，改變了中國畫追求筆墨意趣的造型特點，從而削弱了中國畫的藝術表現力。因此，我們應立足文化的土壤上學習和看待西方藝術，不斷豐富中國畫的繪畫語言，使中國畫沖破傳統(tǒng)的束縛，創(chuàng)新求異。同時，還要保持中國畫的民族精神，避免生搬硬套、削足適履，逐漸偏離民族藝術傳統(tǒng)和文化背景，完全陷入西方寫實繪畫的話語強勢之中。
[Abstract]:As an import of western art, Sketch was brought into the Chinese language system through Japanese translation of western languages, and experienced a tortuous course in the development of Chinese art. Since the beginning of the 20th century, the art form of sketch formally entered the Chinese field of vision, sketch has been involved in the basic training of Chinese painting modeling for more than 100 years. The introduction of this heterogeneous artistic language and its involvement in the teaching of Chinese painting have had a significant impact on the basic training methods of the modeling of Chinese painting. At the same time, the exploration of traditional Chinese painting and western realistic techniques has become a difficult spiritual journey. In the history of the development of Chinese art, Chinese masters of art have also made a lot of efforts to integrate Chinese and Western painting, although these artistic practices have made some achievements to a certain extent. However, the intervention of this kind of different cultural background will inevitably lead to a series of problems. Because Chinese painting has its own unique observation method and cognitive way in the basic training of modeling, this particularity is the key point in which sketch can not solve the problem of Chinese painting. The charm and appeal of aesthetic language in Chinese painting come from its unique styling technique-styling with pen and ink. At the same time, this line-based aesthetic painting is also one of the problems that cannot be solved by sketch. The styling ability of brush Xuan paper endows Chinese painting with unique artistic aesthetic value. Chinese painting to line modeling is not completely attached to the form and not at will break through the use of pen program. In shape, the pursuit of "resemblance and non-resemblance" is taken as the criterion of judgment. In Tang Dynasty, Zhang Yanyuan put forward that "seeking painting beyond likeness" is the subjective inner expression of art works, emphasizing the unity of subject and object. Therefore, the line used in Chinese painting has relatively independent aesthetic value, which is used to convey the author's spiritual experience of external objects, which can not be solved and replaced by the traditional Western sketch line, which is completely dependent on the body of the object image. To some extent, the introduction of Western sketch breaks the tradition of Chinese painting but not modeling, and changes the styling characteristics of Chinese painting in pursuit of pen and ink interest, thus weakening the artistic expressiveness of Chinese painting. Therefore, we should base ourselves on the soil of culture to study and treat western art, enrich the painting language of Chinese painting, and make Chinese painting break through the shackles of tradition and innovate and seek differences. At the same time, we should keep the national spirit of traditional Chinese painting, avoid sticking to it, and gradually deviate from the national art tradition and cultural background, and fall into the strong discourse of western realistic painting.
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212;J214
本文編號：2208815
[Abstract]:As an import of western art, Sketch was brought into the Chinese language system through Japanese translation of western languages, and experienced a tortuous course in the development of Chinese art. Since the beginning of the 20th century, the art form of sketch formally entered the Chinese field of vision, sketch has been involved in the basic training of Chinese painting modeling for more than 100 years. The introduction of this heterogeneous artistic language and its involvement in the teaching of Chinese painting have had a significant impact on the basic training methods of the modeling of Chinese painting. At the same time, the exploration of traditional Chinese painting and western realistic techniques has become a difficult spiritual journey. In the history of the development of Chinese art, Chinese masters of art have also made a lot of efforts to integrate Chinese and Western painting, although these artistic practices have made some achievements to a certain extent. However, the intervention of this kind of different cultural background will inevitably lead to a series of problems. Because Chinese painting has its own unique observation method and cognitive way in the basic training of modeling, this particularity is the key point in which sketch can not solve the problem of Chinese painting. The charm and appeal of aesthetic language in Chinese painting come from its unique styling technique-styling with pen and ink. At the same time, this line-based aesthetic painting is also one of the problems that cannot be solved by sketch. The styling ability of brush Xuan paper endows Chinese painting with unique artistic aesthetic value. Chinese painting to line modeling is not completely attached to the form and not at will break through the use of pen program. In shape, the pursuit of "resemblance and non-resemblance" is taken as the criterion of judgment. In Tang Dynasty, Zhang Yanyuan put forward that "seeking painting beyond likeness" is the subjective inner expression of art works, emphasizing the unity of subject and object. Therefore, the line used in Chinese painting has relatively independent aesthetic value, which is used to convey the author's spiritual experience of external objects, which can not be solved and replaced by the traditional Western sketch line, which is completely dependent on the body of the object image. To some extent, the introduction of Western sketch breaks the tradition of Chinese painting but not modeling, and changes the styling characteristics of Chinese painting in pursuit of pen and ink interest, thus weakening the artistic expressiveness of Chinese painting. Therefore, we should base ourselves on the soil of culture to study and treat western art, enrich the painting language of Chinese painting, and make Chinese painting break through the shackles of tradition and innovate and seek differences. At the same time, we should keep the national spirit of traditional Chinese painting, avoid sticking to it, and gradually deviate from the national art tradition and cultural background, and fall into the strong discourse of western realistic painting.
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212;J214
【參考文獻】
相關期刊論文 前2條
1 李春鋒;;淺論創(chuàng)作主體的修養(yǎng)與藝術格調[J];藝術廣角;2007年04期
2 吳慎峰;;論馬蒂斯的素描藝術[J];藝術研究;2011年03期
本文編號：2208815
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