群山深處白云飛—?jiǎng)⒅咨剿嬔芯?/H1>
發(fā)布時(shí)間：2018-10-30 13:33
【摘要】：中國(guó)傳統(tǒng)繪畫在現(xiàn)代社會(huì)正面臨著一個(gè)發(fā)展的瓶頸,尤其是傳統(tǒng)山水畫,無論是創(chuàng)作模式、審美觀念和文化境遇方面,都正在經(jīng)歷一場(chǎng)前所未有的挑戰(zhàn)和沖擊。與傳統(tǒng)的美術(shù)教學(xué)不同的是,近代學(xué)校美術(shù)教育體系和教學(xué)方式深受西方教育的影響,可以說在創(chuàng)作觀念和表達(dá)范式方面,西方風(fēng)景畫和現(xiàn)代繪畫觀念等方面都對(duì)中國(guó)畫的發(fā)展走向產(chǎn)生不同程度的影響。盡管有很多國(guó)畫家依舊堅(jiān)持認(rèn)真創(chuàng)作,也取得了可觀的成就,但是,就當(dāng)代山水畫創(chuàng)作的整體而言主要的問題集中表現(xiàn)在兩個(gè)方面:一方面舍棄傳統(tǒng)盲目借鑒西方的創(chuàng)作理念和現(xiàn)代的創(chuàng)作方法,強(qiáng)調(diào)創(chuàng)新的同時(shí),忽視了其作為民族藝術(shù)的文化生成基礎(chǔ)和藝術(shù)特質(zhì),這很難完成真正意義上創(chuàng)新;另一方面由于時(shí)代原因,在中國(guó)畫近代發(fā)展的過程中,畫家們又日益脫離了傳統(tǒng)文化情境和審美理念,例如很多從事中國(guó)畫的創(chuàng)造者們對(duì)于傳統(tǒng)文化的脫節(jié),如讀書少、不寫詩(shī)、游歷不廣和不注重書法等,由于對(duì)傳統(tǒng)書畫修養(yǎng)與積煉的不足,使得很多山水畫家無法真正傳承、接受"書畫本一律"的傳統(tǒng)和山水文化的滋養(yǎng),這樣也就很難對(duì)山水中蘊(yùn)含的道家文化內(nèi)涵以及山水中應(yīng)有的文化積淀能夠有深層的理解。很多畫家將山水作為較為單純的審美與表現(xiàn)對(duì)象來對(duì)待,這樣就導(dǎo)致了傳統(tǒng)意義上山水畫發(fā)展的新困境。正是因?yàn)槿绱?我們更應(yīng)當(dāng)關(guān)注那些對(duì)于中國(guó)畫的發(fā)展與傳承中已經(jīng)真正做出貢獻(xiàn)的畫家,尤其是那些既能堅(jiān)守和繼承傳統(tǒng),又能借古開今的杰出畫家。在當(dāng)代中國(guó)畫家中,劉知白是上世紀(jì)一位杰出的山水畫家,亦是一位長(zhǎng)期被忽視的畫壇遺賢。他的傳統(tǒng)功力深厚,詩(shī)書畫都達(dá)到很高的成就,山水和花鳥畫兼善,尤其是潑墨山水畫,不僅拓展了現(xiàn)代山水畫的表現(xiàn)空間,而且進(jìn)一步推進(jìn)了區(qū)域山水畫的發(fā)展。然而長(zhǎng)期以來,美術(shù)界和學(xué)術(shù)界對(duì)于其人其藝的了解,對(duì)其山水畫的深入認(rèn)知,以及他在當(dāng)代山水畫革新中的貢獻(xiàn)知之甚少,研究不足,可以說這是一個(gè)令人遺憾的文化現(xiàn)象,因此,出于對(duì)畫壇遺賢的敬重和對(duì)中國(guó)畫出路的一種關(guān)注,本文以畫家個(gè)案研究為突破口,主要是以劉知白先生的山水畫為研究重點(diǎn),通過對(duì)作品分期的梳理與闡釋來探討其藝術(shù)軌跡,探討在七十余年的藝術(shù)實(shí)踐中劉知白老人師法傳統(tǒng)、探索新境和創(chuàng)立潑墨大寫意山水的藝術(shù)歷程,進(jìn)而通過對(duì)劉知白在上世紀(jì)潑墨山水創(chuàng)作中的藝術(shù)理念、作品特色極其藝術(shù)成就等作多方位和細(xì)致的探討,詮釋其藝術(shù)繼往開來的深層原由,并力求為探討中國(guó)當(dāng)代山水畫的發(fā)展做些有價(jià)值的思考。
[Abstract]:Chinese traditional painting is facing a bottleneck of development in modern society, especially traditional landscape painting, whether it is creative mode, aesthetic concept and cultural circumstances, are experiencing an unprecedented challenge and impact. Different from traditional art teaching, modern school art education system and teaching methods are deeply influenced by western education. Western landscape painting and modern painting concepts have different degrees of influence on the development of Chinese painting. Although there are many painters from different countries who still insist on serious creation and have made considerable achievements, however, The main problems in the creation of contemporary landscape painting as a whole are focused on two aspects: on the one hand, abandoning the tradition and blindly learning from the western creative ideas and modern creative methods, emphasizing innovation at the same time, Neglecting its cultural foundation and artistic characteristics as national art, it is very difficult to complete the real sense of innovation; On the other hand, due to the reasons of the times, in the process of modern development of Chinese painting, painters are increasingly divorced from the traditional cultural context and aesthetic concepts. For example, many creators engaged in Chinese painting are disjointed with traditional culture, such as less reading. Without writing poems, traveling widely and not paying attention to calligraphy, and so on, many landscape painters are unable to truly inherit and accept the tradition of "uniform calligraphy and painting" and the nourishment of landscape culture because of their deficiencies in the cultivation and accumulation of traditional calligraphy and painting. In this way, it is difficult to understand the Taoist cultural connotation and the cultural accumulation in the landscape. Many painters treat landscape as a simple aesthetic and performance object, which leads to a new predicament of landscape painting development in the traditional sense. Because of this, we should pay more attention to those painters who have made a real contribution to the development and inheritance of Chinese painting, especially those outstanding painters who can not only adhere to and inherit the tradition, but also borrow from the ancient times to open the present. Among the contemporary Chinese painters, Liu Zhibai is an outstanding landscape painter in the last century, and also a neglected artist. His traditional skills are profound, poetry, calligraphy and painting have reached a very high achievement, landscape, flowers and birds painting as well as good, especially splash-ink landscape painting, not only expand the performance space of modern landscape painting, but also further promote the development of regional landscape painting. However, for a long time, the art circle and academic circles have known little about his art, his deep cognition of his landscape painting, his contribution to the innovation of contemporary landscape painting, and his lack of research, which can be said to be a regrettable cultural phenomenon. Therefore, out of respect for the legacy of the painting world and a concern for the way out of Chinese painting, this paper takes the case study of the painter as the breakthrough point, mainly focusing on the landscape painting of Mr. Liu Zhibai. Through combing and explaining the works by stages, this paper probes into the artistic track of the works, discusses the art course of Liu Zhibai's teaching tradition in the art practice of more than 70 years, explores the new land and creates the art course of splashing ink and big freehand brushwork. Then, through the discussion of Liu Zhibai's artistic concept, characteristics and artistic achievements of the painting in the last century, it explains the deep reasons for his art to carry on the future. And to explore the development of contemporary Chinese landscape painting to do some valuable thinking.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212
【相似文獻(xiàn)】
相關(guān)期刊論文 前10條
1 白云飛;;白云飛[J];東方藝術(shù);2012年08期
2 白云飛;;白云飛[J];東方藝術(shù);2012年12期
3 白云飛;;白云飛[J];東方藝術(shù);2012年16期
4 白云飛;;白云飛[J];東方藝術(shù);2012年20期
5 巨石;;白云飛去春山瘦[J];詩(shī)選刊(下半月);2009年10期
6 陳官煊;;十里棉鄉(xiāng)白云飛[J];四川音樂;1982年07期
7 蔡志;;“這是我應(yīng)該做的!”——青年財(cái)政干部白云飛奮勇救人的事跡[J];財(cái)政;1983年08期
8 洪中為;;白云飛,一個(gè)用智慧創(chuàng)業(yè)的人[J];黃梅戲藝術(shù);2007年02期
9 丁波;;紅豆相思[J];南國(guó)紅豆;1995年06期
10 莊吉明,郭治民,楊尚文;山高豈礙白云飛──記青島警備區(qū)離休干部李治亭[J];新聞與成才;1995年11期
相關(guān)重要報(bào)紙文章 前6條
1 本報(bào)記者 趙修彬;挑戰(zhàn)極限勇亮劍[N];中國(guó)保險(xiǎn)報(bào);2010年
2 記者 郝雪蓮;神東礦區(qū) 采煤不見煤 藍(lán)天白云飛 投入二十億 換來好風(fēng)水[N];內(nèi)蒙古日?qǐng)?bào)(漢);2013年
3 記者 付凌;加強(qiáng)合作 互利雙贏[N];酒泉日?qǐng)?bào);2014年
4 周文治邋劉軍斌 周龍;關(guān)山不礙白云飛[N];商洛日?qǐng)?bào);2008年
5 本報(bào)記者 馬全;三個(gè)青年“老總”的心路歷程[N];安慶日?qǐng)?bào);2006年
6 張培剛 韓景中;竹密不妨流水過 山高豈得白云飛[N];中國(guó)教育報(bào);2012年
相關(guān)碩士學(xué)位論文 前1條
1 葉瀾;群山深處白云飛—?jiǎng)⒅咨剿嬔芯縖D];安徽大學(xué);2017年
，
本文編號(hào)：2300143
本文鏈接：http://sikaile.net/wenyilunwen/huihuayishu/2300143.html
[Abstract]:Chinese traditional painting is facing a bottleneck of development in modern society, especially traditional landscape painting, whether it is creative mode, aesthetic concept and cultural circumstances, are experiencing an unprecedented challenge and impact. Different from traditional art teaching, modern school art education system and teaching methods are deeply influenced by western education. Western landscape painting and modern painting concepts have different degrees of influence on the development of Chinese painting. Although there are many painters from different countries who still insist on serious creation and have made considerable achievements, however, The main problems in the creation of contemporary landscape painting as a whole are focused on two aspects: on the one hand, abandoning the tradition and blindly learning from the western creative ideas and modern creative methods, emphasizing innovation at the same time, Neglecting its cultural foundation and artistic characteristics as national art, it is very difficult to complete the real sense of innovation; On the other hand, due to the reasons of the times, in the process of modern development of Chinese painting, painters are increasingly divorced from the traditional cultural context and aesthetic concepts. For example, many creators engaged in Chinese painting are disjointed with traditional culture, such as less reading. Without writing poems, traveling widely and not paying attention to calligraphy, and so on, many landscape painters are unable to truly inherit and accept the tradition of "uniform calligraphy and painting" and the nourishment of landscape culture because of their deficiencies in the cultivation and accumulation of traditional calligraphy and painting. In this way, it is difficult to understand the Taoist cultural connotation and the cultural accumulation in the landscape. Many painters treat landscape as a simple aesthetic and performance object, which leads to a new predicament of landscape painting development in the traditional sense. Because of this, we should pay more attention to those painters who have made a real contribution to the development and inheritance of Chinese painting, especially those outstanding painters who can not only adhere to and inherit the tradition, but also borrow from the ancient times to open the present. Among the contemporary Chinese painters, Liu Zhibai is an outstanding landscape painter in the last century, and also a neglected artist. His traditional skills are profound, poetry, calligraphy and painting have reached a very high achievement, landscape, flowers and birds painting as well as good, especially splash-ink landscape painting, not only expand the performance space of modern landscape painting, but also further promote the development of regional landscape painting. However, for a long time, the art circle and academic circles have known little about his art, his deep cognition of his landscape painting, his contribution to the innovation of contemporary landscape painting, and his lack of research, which can be said to be a regrettable cultural phenomenon. Therefore, out of respect for the legacy of the painting world and a concern for the way out of Chinese painting, this paper takes the case study of the painter as the breakthrough point, mainly focusing on the landscape painting of Mr. Liu Zhibai. Through combing and explaining the works by stages, this paper probes into the artistic track of the works, discusses the art course of Liu Zhibai's teaching tradition in the art practice of more than 70 years, explores the new land and creates the art course of splashing ink and big freehand brushwork. Then, through the discussion of Liu Zhibai's artistic concept, characteristics and artistic achievements of the painting in the last century, it explains the deep reasons for his art to carry on the future. And to explore the development of contemporary Chinese landscape painting to do some valuable thinking.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212
【相似文獻(xiàn)】
相關(guān)期刊論文 前10條
1 白云飛;;白云飛[J];東方藝術(shù);2012年08期
2 白云飛;;白云飛[J];東方藝術(shù);2012年12期
3 白云飛;;白云飛[J];東方藝術(shù);2012年16期
4 白云飛;;白云飛[J];東方藝術(shù);2012年20期
5 巨石;;白云飛去春山瘦[J];詩(shī)選刊(下半月);2009年10期
6 陳官煊;;十里棉鄉(xiāng)白云飛[J];四川音樂;1982年07期
7 蔡志;;“這是我應(yīng)該做的!”——青年財(cái)政干部白云飛奮勇救人的事跡[J];財(cái)政;1983年08期
8 洪中為;;白云飛,一個(gè)用智慧創(chuàng)業(yè)的人[J];黃梅戲藝術(shù);2007年02期
9 丁波;;紅豆相思[J];南國(guó)紅豆;1995年06期
10 莊吉明,郭治民,楊尚文;山高豈礙白云飛──記青島警備區(qū)離休干部李治亭[J];新聞與成才;1995年11期
相關(guān)重要報(bào)紙文章 前6條
1 本報(bào)記者 趙修彬;挑戰(zhàn)極限勇亮劍[N];中國(guó)保險(xiǎn)報(bào);2010年
2 記者 郝雪蓮;神東礦區(qū) 采煤不見煤 藍(lán)天白云飛 投入二十億 換來好風(fēng)水[N];內(nèi)蒙古日?qǐng)?bào)(漢);2013年
3 記者 付凌;加強(qiáng)合作 互利雙贏[N];酒泉日?qǐng)?bào);2014年
4 周文治邋劉軍斌 周龍;關(guān)山不礙白云飛[N];商洛日?qǐng)?bào);2008年
5 本報(bào)記者 馬全;三個(gè)青年“老總”的心路歷程[N];安慶日?qǐng)?bào);2006年
6 張培剛 韓景中;竹密不妨流水過 山高豈得白云飛[N];中國(guó)教育報(bào);2012年
相關(guān)碩士學(xué)位論文 前1條
1 葉瀾;群山深處白云飛—?jiǎng)⒅咨剿嬔芯縖D];安徽大學(xué);2017年
，本文編號(hào)：2300143
本文鏈接：http://sikaile.net/wenyilunwen/huihuayishu/2300143.html
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