【摘要】：中國的繪畫藝術(shù)是世界文化藝術(shù)的重要組成部分之一,它植根于中華民族悠久的文化和璀璨的歷史長河當(dāng)中�！耙饩撑c情感”的表達(dá)是中國畫家創(chuàng)作的原動力,也是中國畫的美學(xué)思想,它與中國書法、詩詞、及戲曲等藝術(shù)一樣,都是在追求“意境與情感”以期達(dá)到一定的高度和境界。在當(dāng)下,中國工筆人物畫因西方文化的不斷滲透和影響以及西方繪畫技法的引用,逐漸擺脫了衰落的局面,在新時代取得了有目共睹的成就。工筆人物畫也因?yàn)橐淮笈宋锂嫾以趧?chuàng)作的過程中加入了其它繪畫的多種技法和西方繪畫形式的因素,使人產(chǎn)生了耳目一新的感覺。很多作品更加貼近生活,在反映人們的真實(shí)情感和人民現(xiàn)實(shí)生活方面有了很大的進(jìn)展,但也有的畫只是一味的炫耀其高超的“制作”手藝,而不注重意境與情感的表達(dá),刻意去求“似”,只注重了表面的描摹客觀物象,進(jìn)而在畫面中事無巨細(xì)的描繪,這往往就會導(dǎo)致作品比較呆板,像照片,整幅畫毫無“意境與情感”可言。同時也把握不了中國畫傳統(tǒng)的精髓——“意境與情感”,完全背離了中國傳統(tǒng)工筆人物畫的審美取向。在本文中,我綜合了大家關(guān)于此論題的觀點(diǎn),同時也結(jié)合自己的繪畫畢業(yè)創(chuàng)作經(jīng)驗(yàn),嘗試著系統(tǒng)的總結(jié)“工筆人物畫中意境與情感的體現(xiàn)”。 本文關(guān)于“意境與情感”在工筆人物畫創(chuàng)作中的研究,主要包含三個方面：一是意境與情感的概念,從分析在古今工筆人物畫中的表現(xiàn),歸納總結(jié)“意境與情感”轉(zhuǎn)化為視覺語言的要素；二是結(jié)合自己對畢業(yè)創(chuàng)作的過程中“意境與情感”的表現(xiàn),從深入生活進(jìn)行寫生、采風(fēng),選取自然生活狀態(tài)的小題材,到通過構(gòu)思、構(gòu)圖,用畫筆抒發(fā)我最真實(shí)的情感,一筆筆、一層層地精心描繪出作品。以理論和實(shí)踐相結(jié)合來貫穿我的創(chuàng)作全過程；三是歸納和總結(jié)意境與情感在中國人物畫創(chuàng)作中的現(xiàn)狀及發(fā)展方向的思考。
[Abstract]:Chinese painting art is one of the important parts of the world culture and art. It is rooted in the long history of the Chinese nation. The expression of "artistic conception and emotion" is the motive force of Chinese painters' creation and the aesthetic thought of Chinese painting. Like Chinese calligraphy, poetry and opera, it pursues "artistic conception and emotion" in order to reach a certain height and realm. At present, due to the continuous infiltration and influence of Western culture and the introduction of Western painting techniques, Chinese meticulous figure painting gradually gets rid of the declining situation and has made obvious achievements in the new era. Meticulous figure painting is also because a large number of character painters in the process of creating a variety of other painting techniques and Western painting form factors, people have a refreshing feeling. Many works are closer to life, and have made great progress in reflecting people's real feelings and people's real life. But some paintings are just showing off their superb "production" skills without paying attention to artistic conception and emotional expression. Painstakingly seeking "likeness", only paying attention to the surface of the objective object, and then in the picture of a detailed description, this will often lead to a more rigid work, such as photos, the whole picture has no "mood and emotion" to speak of. At the same time, it can not grasp the essence of traditional Chinese painting-"mood and emotion", which completely deviates from the aesthetic orientation of traditional Chinese figure painting. In this article, I have synthesized everybody's viewpoint about this topic, at the same time combine own painting graduation creation experience, try to summarize systematically "the artistic conception and the emotion embodiment in the fine brushwork figure painting". The research of "mood and emotion" in the creation of meticulous figure painting mainly includes three aspects: first, the concept of artistic conception and emotion, from the analysis of the performance in the ancient and modern meticulous figure painting, Induces and summarizes the elements of the transformation of "artistic conception and emotion" into visual language; The second is to combine their own expression of "artistic conception and emotion" in the process of graduation and creation, from deep life sketching, collecting wind, selecting small subjects of natural life state, to expressing my truest emotion through conception, composition, and painting brush. A brushstroke, layer by layer of meticulous depiction of the work. Through the whole process of my creation with the combination of theory and practice, the third is to summarize the present situation and development direction of artistic conception and emotion in the creation of Chinese figure painting.
【學(xué)位授予單位】：湖南師范大學(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1條

1 魏東;;中國工筆畫中的意象傳達(dá)[J];美術(shù)觀察;2009年10期

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本文編號：2406216