【摘要】：裝飾語(yǔ)言是每個(gè)民族最有傳統(tǒng)韻味的藝術(shù)表現(xiàn)。它將人類社會(huì)當(dāng)中各個(gè)民族、各個(gè)國(guó)家在從古代到現(xiàn)代各個(gè)時(shí)期的藝術(shù)傳統(tǒng)美學(xué)語(yǔ)言和思想真真切切的展現(xiàn)在世人面前,表達(dá)了不同時(shí)代廣大人民群眾對(duì)藝術(shù)的思索探求和追求美的證據(jù),是現(xiàn)在我們最寶貴的不可復(fù)制的古代文化遺產(chǎn)。 中國(guó)工筆人物畫在世界繪畫史中是最講究裝飾語(yǔ)言的藝術(shù)之一,裝飾語(yǔ)言構(gòu)成了工筆人物畫的特征,這些特征不僅廣泛得到東亞各國(guó)的喜愛,在18世紀(jì)被帶到法國(guó)后,“裝飾藝術(shù)”的稱號(hào)就和中國(guó)工筆人物畫聯(lián)系在了一起。當(dāng)前,工筆人物畫在發(fā)展上應(yīng)該多對(duì)傳統(tǒng)進(jìn)行有益的繼承,因?yàn)槿魏问挛锏男掳l(fā)展都離不開傳統(tǒng)這個(gè)基礎(chǔ)。要想使工筆人物畫在當(dāng)下有廣闊的發(fā)展前景,離開了傳統(tǒng)這個(gè)基礎(chǔ)就會(huì)如同無(wú)源之水。當(dāng)然,繼承不是拘泥,不是沉迷在傳統(tǒng)的襁褓里,那樣只會(huì)使工筆人物畫的發(fā)展停步不前。所以,發(fā)展現(xiàn)代工筆人物畫,我們要多角度的去認(rèn)識(shí)、繼承與發(fā)揚(yáng)它,吸收各畫種的有益部分為我所用,這樣才能使工筆人物畫的裝飾語(yǔ)言與技法在繼承傳統(tǒng)的基礎(chǔ)上譜寫新的篇章。 本文共分為六章,第一章是緒論：簡(jiǎn)單描述了寫這篇論文研究的時(shí)代背景,并對(duì)論文研究的目的和意義進(jìn)行了非常詳細(xì)的分析,然后將論文研究的內(nèi)容、框架和研究方法進(jìn)行了敘述。第二章是引言,簡(jiǎn)要闡述了工筆人物畫的概念和在歷史當(dāng)中的發(fā)展變化,以及新中國(guó)成立后工筆人物畫的發(fā)展?fàn)顩r。第三章到第五章是對(duì)古今工筆人物畫的造型、賦彩、構(gòu)圖上的裝飾語(yǔ)言和技法作品進(jìn)行分析,分析中加入了自己的作品來(lái)加強(qiáng)論述,其中第三章描述了工筆人物畫的裝飾語(yǔ)言與技法在造型中的四種形式：造型中的線、造型上的平面化、造型上的程式化、造型上的主觀化；第四章描述了工筆人物畫的裝飾語(yǔ)言與技法在賦彩上的兩種類型：賦彩的平面性、賦彩的意象性；第五章描述了工筆人物畫的裝飾語(yǔ)言與技法在構(gòu)圖上的兩種方式：構(gòu)圖中的主觀布置和構(gòu)圖中的留白。最后第六章通過(guò)與自己的繪畫創(chuàng)作實(shí)踐相結(jié)合,表達(dá)了自己在工筆人物畫裝飾語(yǔ)言與技法實(shí)踐上的感悟：畫面的裝飾語(yǔ)言來(lái)源于生活、畫面的裝飾語(yǔ)言高于生活、畫面中裝飾語(yǔ)言的形式與意境、繪畫中把握好裝飾語(yǔ)言的度、繼承與創(chuàng)新工筆人物畫的裝飾語(yǔ)言與技法。
[Abstract]:Decorative language is the most traditional artistic expression of every nation. It truly presents to the world the traditional aesthetic language and thoughts of art from ancient to modern times among all nations and countries in human society. It is the most precious cultural heritage of ancient times to express the people's thinking about art in different times and the evidence of pursuing beauty. Chinese meticulous figure painting is one of the most decorative language art in the history of world painting. Decorative language forms the characteristics of meticulous figure painting. These characteristics are not only popular in East Asian countries, but were brought to France in the 18th century. The title of "decorative Art" is associated with Chinese figure painting. At present, the development of meticulous figure painting should carry on the beneficial inheritance to the tradition, because the new development of anything can not be separated from the foundation of tradition. If you want to make meticulous figure painting in the present broad development prospects, away from the traditional foundation will be like no source of water. Of course, inheritance is not rigid, not indulged in the traditional swaddling clothes, that will only make the development of meticulous figure painting stalled. Therefore, to develop modern meticulous figure painting, we should understand it from many angles, inherit and develop it, and absorb the beneficial parts of each painting species for our own use. Only in this way can the decorative language and techniques of meticulous figure painting compose a new chapter on the basis of inheriting the tradition. This paper is divided into six chapters, the first chapter is the introduction: a brief description of the background of the writing of this paper, and a very detailed analysis of the purpose and significance of the paper, and then the content of the paper. The framework and research methods are described. The second chapter is the introduction, briefly describes the concept of fine brushwork figure painting and its development in history, as well as the development of meticulous figure painting after the founding of New China. The third to the fifth chapter is to the ancient and modern meticulous figure painting modeling, color, composition on the decorative language and technical works were analyzed, the analysis of their own works to strengthen the discussion, The third chapter describes the decorative language and techniques of meticulous figure painting in the modeling of the four forms: the line in the modeling, the flat modeling, the stylized modeling, the subjective modeling; The fourth chapter describes two types of decorative language and techniques of meticulous figure painting: the flatness of the painting and the image of the painting; The fifth chapter describes the decorative language and techniques of meticulous figure painting in the composition of the two ways: composition of the subjective arrangement and composition of white space. In the last chapter, by combining with his own painting practice, the author expresses his own feeling on the decorative language and technique of meticulous figure painting: the decorative language of the picture comes from life, and the decorative language of the picture is higher than that of life. The form and artistic conception of the decorative language in the picture, the degree of the decorative language in the painting, the inheritance and innovation of the decorative language and techniques of the meticulous figure painting.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 張光宇;;裝飾諸問(wèn)題(二)[J];裝飾;2008年S1期

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本文編號(hào)：2269508