本文關(guān)鍵詞： 中國工筆人物畫 裝飾性 形式 意境 傳統(tǒng)　出處：《西安美術(shù)學院》2008年碩士論文　論文類型：學位論文

【摘要】： 新時期以來工筆人物畫出現(xiàn)復興之勢,進入九十年代以后,這一勢頭有增無減,大批畫家投入精心創(chuàng)作,中國工筆人物畫以蓬勃的生機,創(chuàng)造著中國工筆人物畫的新秩序。工筆畫要解決的不只是繪畫的表現(xiàn)形式,重要的是繪畫要表現(xiàn)什么樣的情感,什么樣的內(nèi)心感受。藝術(shù)的創(chuàng)新必須體現(xiàn)新的情感對作品的滲透。 工筆人物畫的發(fā)展是一個從不成熟到成熟,從無序到有序,從多元輻射到逐步整合的過程。從近年工筆畫的大展中可以看出,在當今工筆人物畫自身,已初步完成在創(chuàng)作群體、繪畫觀念和樣式手法上的新組合。 裝飾美術(shù)一直都是代表每一個民族最具有傳統(tǒng)意味的藝術(shù)表現(xiàn)。裝飾美術(shù)不僅是一個民族或國家極為重要的古代文化資產(chǎn),也是傳統(tǒng)藝術(shù)思想與美學的深刻表現(xiàn)。它反映了各時期的當時人們的思想觀念與審美意識。中國畫是世界繪畫藝術(shù)中最講究裝飾手法的一種,裝飾性可以說是中國畫的特性,甚至被西方國家稱為“裝飾藝術(shù)”。裝飾性是形式美的一部分,我們研究中國畫裝飾性的目的就在于此。 本文從裝飾性藝術(shù)的源頭來作為文章的起點,分四部分,通過對形式與意境的理解,得到了一些創(chuàng)作體悟,并對當今工筆人物畫的繼承與創(chuàng)新做了一些淺顯的論述,得出的結(jié)論是:中國工筆人物畫是站在繼承傳統(tǒng)又發(fā)展傳統(tǒng),借鑒外來文化又不同于外來文化的藝術(shù)交匯點上。中國畫要多樣化,但不要改造的不象自己,要把握度�！傲⒆阒腥A,面向世界”。我們要用一種國際的眼光審視一切,用深厚的傳統(tǒng)文化做底蘊,關(guān)注當前的生活和人文背景,善于動腦筋吸收一些新東西,形式和藝術(shù)要高度統(tǒng)一,遵循“外師造化,中得心源”這一東方藝術(shù)的千古至理。在民族性的基礎(chǔ)上尋求發(fā)展,既要尊重民族藝術(shù)的獨特性,體現(xiàn)中華民族的審美心理,又要反映現(xiàn)代人的內(nèi)在精神追求,才是我們發(fā)展的必由之路。
[Abstract]:Since the new period of fine brushwork figure painting appeared the trend of revival, after 90s, this momentum has been increasing, a large number of painters put into meticulous creation, Chinese meticulous figure painting to flourish vitality. To create a new order of Chinese meticulous figure painting. Fine brushwork to solve not only the form of expression of painting, it is important to painting to show what kind of emotion. What kind of inner feelings. The artistic innovation must reflect the new emotion permeates the work. The development of meticulous figure painting is a process that never matures to mature, from disorder to order, from multiple radiation to gradual integration. Has initially completed in the creative community, painting concept and style on the new combination. Decorative art has always been the most traditional representation of every nation. Decorative art is not only an important ancient cultural asset of a nation or a country. It is also a profound expression of traditional artistic thought and aesthetics. It reflects the ideology and aesthetic consciousness of people at that time. Chinese painting is one of the most exquisite decoration techniques in the world painting art. Decoration can be said to be the characteristic of Chinese painting, even called "decorative art" by western countries. Decoration is a part of formal beauty, which is the purpose of our study of decorative nature of Chinese painting. This article from the source of decorative art as the starting point of the article, divided into four parts, through the understanding of form and artistic conception, got some creative understanding. And the inheritance and innovation of modern fine brushwork figure painting has made some simple exposition, and the conclusion is: Chinese meticulous figure painting is standing in inheriting tradition and developing tradition. Draw lessons from foreign culture and different from foreign culture on the intersection of art. Chinese painting should be diversified, but do not transform like themselves, to grasp the degree. "based on China." "face the world." We should look at everything from an international perspective, use the profound traditional culture as the inside story, pay attention to the current life and cultural background, and be good at using our brains to absorb some new things. Form and art should be highly unified, follow the oriental art of "outside teachers, heart source," the oriental art, seek development on the basis of nationality, we should respect the uniqueness of national art. The only way to our development is to reflect the aesthetic psychology of the Chinese nation and the inner spiritual pursuit of modern people.
【學位授予單位】：西安美術(shù)學院
【學位級別】：碩士
【學位授予年份】：2008
【分類號】：J212

【引證文獻】

相關(guān)期刊論文 前1條

1 靳森媛;;裝飾性在少數(shù)民族題材工筆人物畫中的運用[J];新課程學習(下);2012年03期

相關(guān)碩士學位論文 前1條

1 張小妮;工筆人物畫的裝飾性特征[D];蘇州大學;2012年

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本文編號：1462937