【摘要】：石濤曾說過：線條是一切的開始。 當(dāng)人們探求中華民族藝術(shù)時，就會自然而然的去觀察她的表現(xiàn)手法和藝術(shù)形式，亦然，在我們研究中國繪畫時，“線”作為貫穿其中的架構(gòu)者和表現(xiàn)者起著顯見的重要作用。站在人類發(fā)展的歷史長河中來看，中國畫之所以成為東方的一種文化符號被認(rèn)可必然有其獨特的民族識別性。由于人文、地理等因素的綜合作用，民族傳統(tǒng)藝術(shù)文化形成了豐富各異的表現(xiàn)手法和形式技巧;也正是基于這點，，中國畫區(qū)別于西方繪畫體系中的色彩與形體兩大方面的價值觀念：唯以線條來表現(xiàn)物象的體面關(guān)系。這使得線的運用在中國繪畫中打破了單純限定物象的輪廓線作用，而體現(xiàn)出組織畫面整體的規(guī)定形態(tài)和表現(xiàn)塊面的綜合功能。同時，以線造型的程式也作為反映創(chuàng)作者的思想情懷和藝術(shù)修養(yǎng)的靈魂之所在。 伴隨著時代的更迭和藝術(shù)語境的變遷，中國畫創(chuàng)作者對線條認(rèn)識程度也不斷深入，在線條的表現(xiàn)力注入了越來越豐富的主觀因素，線條的形式結(jié)構(gòu)也從單一到繁復(fù)，從粗制到精細(xì)，“線”的藝術(shù)語言蔚為大觀。中國繪畫以線為造型手段發(fā)展變化至今，經(jīng)歷了由“形”到“質(zhì)”的升華過程，并形成了以線條觀念去觀察、思辨、再現(xiàn)的思維體系。 本文以歷代畫作和繪畫理論為研究的起點，在用筆技法、造型手段及形式意趣上匯與現(xiàn)代線性的發(fā)展進(jìn)行了整理和歸納，并在此基礎(chǔ)上對比分析了中西方線性藝術(shù)的異同，使我們能對線性造型的發(fā)展脈絡(luò)有著更清晰的把握。線性造型同樣也是一個不斷要求創(chuàng)新的過程，這就要求我們在吸收外來造型理念的同時更要深入學(xué)習(xí)本民族的傳統(tǒng)文化精髓。
[Abstract]:Shi Tao once said: line is the beginning of everything. When people explore the Chinese art, they will naturally observe her performance techniques and art forms, and also, in our study of Chinese painting, "line" as the architect and performance through which plays an important role. From the point of view of the history of human development, the reason why Chinese painting has become a cultural symbol in the East must have its unique national identity. As a result of the comprehensive function of the humanities, geography and other factors, the traditional national art and culture have formed a variety of expression techniques and formal skills; Based on this, Chinese painting is different from the western painting system in the color and form of the two major values: only by the line to represent the decent relationship of the image. This makes the use of line in Chinese painting break the role of the contour of the purely limited image, but reflect the overall organization of the picture as a whole and the overall performance of the integrated function of the block surface. At the same time, the program of line modeling is the soul of reflecting the creators' thoughts and artistic accomplishment. With the change of the times and the change of the artistic context, the Chinese painting creators have a deeper understanding of the lines, and the expression of the online strips has injected more and more subjective factors, and the formal structure of the lines has also changed from single to complicated. From rough to fine, the artistic language of "line" has become a great sight. Up to now, Chinese painting has experienced the sublimation process from "shape" to "quality", and has formed a thinking system of observing, thinking and reappearing by line concept. Based on the theory of painting and painting in the past dynasties, this paper has arranged and summarized the development of modern linearity in terms of pen technique, styling means and form interest, and on this basis has compared and analyzed the similarities and differences between Chinese and western linear art. So that we can have a clearer grasp of the development of linear modeling. Linear modeling is also a process of continuous innovation, which requires us to learn the essence of traditional culture of our nation while absorbing the concept of external modeling.
【學(xué)位授予單位】：遼寧師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 張于;;散步的線條——與畫家克利的四十三種對視[J];山花;2009年19期

2 栗壯志;;中西方繪畫藝術(shù)的美學(xué)差異[J];文藝爭鳴;2011年06期

本文編號：2381825