解讀“十八描”線性藝術(shù)
發(fā)布時(shí)間：2018-11-10 23:22
【摘要】：當(dāng)前，對(duì)于研究中國古代人物畫的用筆與技法來說，豐富性和深廣性上都不夠充分。繪畫工作者對(duì)于審美層面上更加注重，而不是用筆之法。然而，美術(shù)史學(xué)家對(duì)用筆之法也關(guān)注甚少，，對(duì)于線性的認(rèn)識(shí)也是從古代人物畫上的線性表達(dá)上有所了解，對(duì)此后人稱之為“十八描”。 《十八描研究》一書是曾正明對(duì)“十八描”的專門研究，此書雖然首次將“十八描”作為研究課題，但表述內(nèi)容總是有些敘薄難釋之嫌。由于“十八描”的理論研究廖若星辰，但仍有據(jù)可依，首先，從敦煌壁畫的白描研究及白描作為獨(dú)立畫科的發(fā)展至唐宋以來中國人物畫的用筆之法的研究和探索。再次，對(duì)于明清時(shí)期的中國古代畫譜的探究，內(nèi)容上往往以言簡意賅的語言和畫作示范為例。而“十八描”藝術(shù)研究理論成果離不開明清畫譜，畫譜中的內(nèi)容精結(jié)是傳播“十八描”的重要媒介，也是普及中國線性藝術(shù)的一個(gè)重要途徑。因此，從藝術(shù)價(jià)值上來看，意義深遠(yuǎn)。 美術(shù)理論研究至今并無多少佳作，元明清以來，文人雅士作為話語權(quán)的支配者，對(duì)于意象的追求程度已經(jīng)達(dá)到忘懷技法之嫌。我想對(duì)技法理解需要從以下幾點(diǎn)來了解，首先，繪畫者對(duì)于線性藝術(shù)本身的感悟力，真正對(duì)于線的運(yùn)用，筆法設(shè)計(jì)，技法形成的合理過程。其次，考查技法其后所指的文化方向，即形成此法的藝術(shù)思想、思維方式的承繼及技法本身的嬗變過程。如何在這一時(shí)代會(huì)產(chǎn)生此技法之關(guān)系，這也是需要深思而不可回避的內(nèi)容。 但“十八描”這一名詞藝術(shù)性問題的成功展現(xiàn)與研究中國古代人物畫用筆之法的關(guān)系是密切相連的，而不可分割。歷史及文化演變過程的同時(shí)也對(duì)線性藝術(shù)的認(rèn)識(shí)賦予了可觀的發(fā)展，使其不斷發(fā)展并不斷革新，使純粹技法的認(rèn)識(shí)需要從文化史、藝術(shù)史和社會(huì)史的內(nèi)涵底蘊(yùn)中挖掘，才能真正意義上給與合理的解釋。 因此，本論文在研究方法上以美術(shù)史和文化史的深層內(nèi)涵為框架，把技法和藝術(shù)風(fēng)格融入框架之中，以求索歷史變遷之史觀念下對(duì)于“十八描”這一名詞形成、發(fā)展、嬗變過程的認(rèn)識(shí)和解析。置于歷史演變之中，對(duì)于文化與藝術(shù)風(fēng)格的融合，也是一個(gè)新的嘗試和考驗(yàn)，給于“十八描”這一名詞探索及對(duì)于中國現(xiàn)代藝術(shù)繪畫的用筆之法提供一個(gè)新元素的思考和借鑒之功效。
[Abstract]:At present, for the study of ancient Chinese figure painting pen and technique, richness and depth are not enough. Painting workers pay more attention to the aesthetic level, rather than using the method of pen. However, art historians pay little attention to the method of using pen, and the understanding of linearity is also from the linear expression of ancient figure painting. The book is Zeng Zhengming's special study of "Eighteen Sketch". Although this book takes "Eighteen Sketch" as its research subject for the first time, the content of its expression is always somewhat difficult to explain. Because of the theoretical study of "eighteen sketches" Liao Ruoxing, but still have evidence to rely on, first, from the white painting of Dunhuang murals and the development of white painting as an independent painting subject to the Tang and Song dynasties, the study and exploration of the method of Chinese figure painting. Thirdly, the research of ancient Chinese painting in Ming and Qing dynasties often takes concise language and painting demonstration as an example. However, the theoretical achievement of the art research of "eighteen drawings" can not be separated from the painting spectrum of Ming and Qing dynasties. The content of the painting spectrum is an important medium for spreading "eighteen sketches" and an important way to popularize Chinese linear art. Therefore, from the point of view of artistic value, far-reaching significance. Since the Yuan, Ming and Qing dynasties, the literati as the dominator of discourse power, the pursuit degree of image has reached the suspicion of forgetting the techniques. I want to understand the techniques from the following points: first of all, the painter's perception of the linear art itself, the real use of lines, pen design, the formation of a reasonable process. Secondly, it examines the cultural direction of the technique, that is, the artistic thought, the inheritance of the mode of thinking and the evolution of the technique itself. How to produce this kind of skill in this era is also the content that needs to be thought deeply and irrevocably. However, the successful display of the artistic problem of "eighteen drawings" is closely related to the study of the method of painting in ancient Chinese figure painting. At the same time, the process of history and cultural evolution has given considerable development to the understanding of linear art, making it continuously develop and innovate, so that the understanding of pure techniques needs to be excavated from the connotation of cultural history, art history and social history. In order to give a reasonable explanation in the real sense. Therefore, the research method of this thesis is based on the deep connotation of art history and cultural history, the techniques and artistic styles are incorporated into the framework, and the term "eighteen drawings" is formed and developed under the historical concept of historical change. The understanding and analysis of the transmutation process. In the course of historical evolution, it is also a new attempt and test for the integration of culture and artistic style. It provides a new element of thinking and reference to the exploration of the term "eighteen sketches" and to the method of using pen in Chinese modern art painting.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
本文編號(hào)：2323861
[Abstract]:At present, for the study of ancient Chinese figure painting pen and technique, richness and depth are not enough. Painting workers pay more attention to the aesthetic level, rather than using the method of pen. However, art historians pay little attention to the method of using pen, and the understanding of linearity is also from the linear expression of ancient figure painting. The book is Zeng Zhengming's special study of "Eighteen Sketch". Although this book takes "Eighteen Sketch" as its research subject for the first time, the content of its expression is always somewhat difficult to explain. Because of the theoretical study of "eighteen sketches" Liao Ruoxing, but still have evidence to rely on, first, from the white painting of Dunhuang murals and the development of white painting as an independent painting subject to the Tang and Song dynasties, the study and exploration of the method of Chinese figure painting. Thirdly, the research of ancient Chinese painting in Ming and Qing dynasties often takes concise language and painting demonstration as an example. However, the theoretical achievement of the art research of "eighteen drawings" can not be separated from the painting spectrum of Ming and Qing dynasties. The content of the painting spectrum is an important medium for spreading "eighteen sketches" and an important way to popularize Chinese linear art. Therefore, from the point of view of artistic value, far-reaching significance. Since the Yuan, Ming and Qing dynasties, the literati as the dominator of discourse power, the pursuit degree of image has reached the suspicion of forgetting the techniques. I want to understand the techniques from the following points: first of all, the painter's perception of the linear art itself, the real use of lines, pen design, the formation of a reasonable process. Secondly, it examines the cultural direction of the technique, that is, the artistic thought, the inheritance of the mode of thinking and the evolution of the technique itself. How to produce this kind of skill in this era is also the content that needs to be thought deeply and irrevocably. However, the successful display of the artistic problem of "eighteen drawings" is closely related to the study of the method of painting in ancient Chinese figure painting. At the same time, the process of history and cultural evolution has given considerable development to the understanding of linear art, making it continuously develop and innovate, so that the understanding of pure techniques needs to be excavated from the connotation of cultural history, art history and social history. In order to give a reasonable explanation in the real sense. Therefore, the research method of this thesis is based on the deep connotation of art history and cultural history, the techniques and artistic styles are incorporated into the framework, and the term "eighteen drawings" is formed and developed under the historical concept of historical change. The understanding and analysis of the transmutation process. In the course of historical evolution, it is also a new attempt and test for the integration of culture and artistic style. It provides a new element of thinking and reference to the exploration of the term "eighteen sketches" and to the method of using pen in Chinese modern art painting.
【學(xué)位授予單位】：曲阜師范大學(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3條
1 于為剛;;胡文煥與《格致叢書》[J];圖書館雜志;1982年04期
2 薛永年;;品格高妙《唐風(fēng)圖》[J];中華遺產(chǎn);2004年02期
3 謝穎淳;洪ii與《清平山堂話本》[J];中國文學(xué)研究;1999年04期
本文編號(hào)：2323861
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