當(dāng)代文化背景下的水墨人物畫轉(zhuǎn)型與展望
發(fā)布時間：2018-11-15 22:35
【摘要】：中國畫作為中國最具代表性的藝術(shù)形式存在于世界藝術(shù)之林，而水墨人物畫作為中國畫中最具時代感的藝術(shù)形式總是引來無數(shù)的關(guān)注。在不同的時代和社會背景下，滋生出的文化不同，那么在不同的文化背景下，水墨人物畫的社會功能和文化概念也全然不同，這其間的關(guān)系值得去研究。出于這樣的理由，我則有必要把水墨人物畫發(fā)展至今的脈絡(luò)和在當(dāng)今文化背景下的現(xiàn)狀做適當(dāng)?shù)慕忉尅?文化背景是指不同的地域、時代和時代造就的生活習(xí)慣而產(chǎn)生的文化上的差異。文化背景的差異會造就不同的藝術(shù)樣式，同時不同的藝術(shù)樣式也會反映相應(yīng)的文化背景。 在美術(shù)圈把與當(dāng)代社會發(fā)生關(guān)系的水墨人物畫家的作品稱之為“當(dāng)代水墨人物畫”�！爱�(dāng)代都市水墨人物畫”這個概念我認(rèn)為有兩層含義，第一是是生活在當(dāng)代的藝術(shù)家的作品，第二是畫中表現(xiàn)的一定是與當(dāng)代生活有關(guān)的人。這個概念的形成期應(yīng)該是在85新潮之后，然后逐漸完善至今，這樣算下來也有三十余年，那么按照出生年代來劃分這批水墨人物畫家，我們可以大致將其可以分為60后群體，70后群體，還有正在成長中的我們80后一代。 由60后引出的80后的這些藝術(shù)家們都是生活在不同的城市，，接受著不同藝術(shù)教育的人群。接下來我用自己的觀察和理解來分析這些藝術(shù)家的個性和共性問題。以我看來，北京、上海、江浙一帶、南京、西安是盛產(chǎn)水墨畫家的幾大版圖。 展望：作為參與在當(dāng)代水墨人物畫創(chuàng)作其中的一員，我對未來這種新藝術(shù)樣式的前景還是有足夠信心的。一方面我們這個時代需要更多元化的藝術(shù)樣式存在，以滿足不同人群審美的需求。另一方面，通過美術(shù)史我們就可以了解，任何藝術(shù)門類的發(fā)展都是以新的觀念沖擊傳統(tǒng)觀念、以新圖式打破傳統(tǒng)程式為必然方式的。只有這樣藝術(shù)的發(fā)展才不會停滯不前。
[Abstract]:As the most representative art form of China, Chinese painting exists in the forest of world art, while the ink figure painting as the most contemporary art form in Chinese painting has always attracted countless attention. In different times and social background, different cultures breed, then under different cultural background, the social function and cultural concept of ink figure painting are completely different, and the relationship between them is worth studying. For this reason, it is necessary for me to make a proper explanation of the development of ink figure painting and the current situation in the present cultural background. Cultural background refers to the cultural differences caused by different regions, times and habits of life created by times. The difference of cultural background will result in different artistic styles, and different artistic styles will also reflect the corresponding cultural background. In the circle of art, the works of ink and wash figure painters who have relations with contemporary society are called "contemporary ink figure painting". I think the concept of "contemporary urban ink figure painting" has two meanings: the first is the work of the artist living in the contemporary age, the second is that the painting must be related to the contemporary life. The period of formation of this concept should be after 85 new trends, and then gradually improve up to now. In this way, it has been calculated for more than 30 years. Well, according to the age of birth, we can roughly divide this group of ink and wash painters into post-60 groups. The 70 s group, and the growing generation of us in the 80 s. The artists of the '80s are people who live in different cities and receive different art education. Then I use my own observation and understanding to analyze the characteristics and commonalities of these artists. In my opinion, Beijing, Shanghai, Jiangsu and Zhejiang areas, Nanjing, Xi'an are rich in ink painting several major map. Outlook: as a participant in the creation of contemporary ink figure painting, I have enough confidence in the future of this new art style. On the one hand, our times need more diversified artistic styles to meet the aesthetic needs of different groups. On the other hand, through the history of art, we can understand that the development of any category of art is a new concept of impact on the traditional concept, with the new schema to break the traditional formula is the inevitable way. Only in this way will the development of art not stand still.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212
[Abstract]:As the most representative art form of China, Chinese painting exists in the forest of world art, while the ink figure painting as the most contemporary art form in Chinese painting has always attracted countless attention. In different times and social background, different cultures breed, then under different cultural background, the social function and cultural concept of ink figure painting are completely different, and the relationship between them is worth studying. For this reason, it is necessary for me to make a proper explanation of the development of ink figure painting and the current situation in the present cultural background. Cultural background refers to the cultural differences caused by different regions, times and habits of life created by times. The difference of cultural background will result in different artistic styles, and different artistic styles will also reflect the corresponding cultural background. In the circle of art, the works of ink and wash figure painters who have relations with contemporary society are called "contemporary ink figure painting". I think the concept of "contemporary urban ink figure painting" has two meanings: the first is the work of the artist living in the contemporary age, the second is that the painting must be related to the contemporary life. The period of formation of this concept should be after 85 new trends, and then gradually improve up to now. In this way, it has been calculated for more than 30 years. Well, according to the age of birth, we can roughly divide this group of ink and wash painters into post-60 groups. The 70 s group, and the growing generation of us in the 80 s. The artists of the '80s are people who live in different cities and receive different art education. Then I use my own observation and understanding to analyze the characteristics and commonalities of these artists. In my opinion, Beijing, Shanghai, Jiangsu and Zhejiang areas, Nanjing, Xi'an are rich in ink painting several major map. Outlook: as a participant in the creation of contemporary ink figure painting, I have enough confidence in the future of this new art style. On the one hand, our times need more diversified artistic styles to meet the aesthetic needs of different groups. On the other hand, through the history of art, we can understand that the development of any category of art is a new concept of impact on the traditional concept, with the new schema to break the traditional formula is the inevitable way. Only in this way will the development of art not stand still.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212
【共引文獻(xiàn)】
相關(guān)期刊論文 前10條
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2 季寶玲;;陳洪綬與哈爾斯人物畫藝術(shù)比較研究[J];才智;2009年28期
3 王寧;;淺談宋代以蘇軾為代表的“尚意”書風(fēng)對文人畫興起的影響[J];成都紡織高等�？茖W(xué)校學(xué)報;2012年01期
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