發(fā)布時(shí)間：2018-08-21 14:55

【摘要】： 線是最古老最基本的藝術(shù)語匯,經(jīng)過千百年的錘煉,線已成為造型藝術(shù)成熟高超的表現(xiàn)語言。尤其在中國(guó)繪畫中,線不僅作為造型的基本手段而存在,而且具有豐富的內(nèi)涵和獨(dú)特的裝飾美感。在我國(guó),線的裝飾美早在原始社會(huì)的陶器紋飾中就已初見端倪,到春秋戰(zhàn)國(guó)時(shí)已在繪畫中有所體現(xiàn),后又經(jīng)歷代畫家的不斷傳承和發(fā)展,最終形成了獨(dú)具裝飾意味的審美風(fēng)格。特別是到了晚清時(shí)候的任伯年,他在繼承傳統(tǒng)的基礎(chǔ)上繼續(xù)突破創(chuàng)新,而且又吸收了民間以及同時(shí)代人的藝術(shù)成就,然后融會(huì)貫通,從而形成了既有時(shí)代特色,又有個(gè)人獨(dú)特風(fēng)貌的用線風(fēng)格。他筆下的線條聚散得體、穿插有序,線的輕重長(zhǎng)短多變而自然。每一行筆能曲盡抑揚(yáng)頓挫、轉(zhuǎn)折提按的變化,呈現(xiàn)出既有古拙味道,又不失淳樸清新的強(qiáng)烈的裝飾美感的用線特色。 本文從任伯年的多幅具有代表性的工筆人物作品入手,剖析研究其作品中線條所具有的獨(dú)特的裝飾美感。為了進(jìn)行較深入的探討,本文分三大部分逐層論述。第一部分是對(duì)任伯年人物畫藝術(shù)特色的總體概括,分析構(gòu)成其裝飾風(fēng)格的三大主要因素:即分別從造型、色彩、線條三個(gè)方面分析其中所具有的裝飾因素。強(qiáng)調(diào)線的裝飾感在形成畫面整體風(fēng)格中發(fā)揮的重要作用;第二部分對(duì)線條裝飾美的歷史淵源進(jìn)行探本溯源,也就是挖掘任伯年用線所具有的裝飾美感的歷史根源;第三部分結(jié)合任伯年的具體作品,分析得出其線條裝飾美主要體現(xiàn)在三大方面:即秩序感、節(jié)奏感和韻律感。 最后對(duì)形成裝飾美的規(guī)律進(jìn)行概括和總結(jié),期望我們?cè)谖涨叭私?jīng)驗(yàn)的基礎(chǔ)上,不斷開拓創(chuàng)新,把中國(guó)線條所特有的如裝飾美等風(fēng)格特點(diǎn)繼續(xù)發(fā)揚(yáng)光大,在現(xiàn)代繪畫語境中創(chuàng)造新的輝煌。
[Abstract]:Line is the most ancient and basic artistic vocabulary, after thousands of years of practice, line has become the mature and superb expression language of plastic arts. Especially in Chinese painting, line not only exists as the basic means of modeling, but also has rich connotation and unique decorative beauty. In our country, the decorative beauty of line has already appeared in the pottery decoration of primitive society, and has been reflected in painting in the Spring and Autumn period and warring States period, and then experienced the continuous inheritance and development of the painter's generation, and finally formed a unique decorative aesthetic style. Especially in the late Qing Dynasty, Ren Bonian continued to break through the innovation on the basis of inheriting the tradition, and absorbed the artistic achievements of the folk and contemporary people, and then integrated them, thus forming the existing characteristics of the times. There is also a unique style of personal line style. The lines in his writing are well-knit and orderly, and the weight and length of the lines are variable and natural. Each line of pen can bend to cadence, turn the change of the press, showing both the ancient taste, but also the simple and fresh strong decorative aesthetic features. This paper begins with Ren Bonian's representative meticulous figure works and analyzes the unique decorative aesthetic feeling of the lines in his works. In order to conduct a more in-depth discussion, this paper is divided into three parts, layer by layer. The first part is a general summary of the artistic characteristics of Ren Bonian figure painting, and analyzes the three main factors that constitute its decorative style: namely, from the modeling, color, line three aspects of the analysis of the decorative factors. The second part explores the historical origin of the line decorative beauty, which is the historical root of the decorative aesthetic sense of the Ren Bonian line. The third part, combined with Ren Bonian's concrete works, concludes that the beauty of line decoration is mainly embodied in three aspects: sense of order, sense of rhythm and sense of rhythm. Finally, we generalize and summarize the rules of the formation of decorative beauty, expecting us to continue to develop and innovate on the basis of absorbing the previous experience, and to continue to carry forward the unique style characteristics of Chinese lines, such as decorative beauty. Create new splendor in the context of modern painting.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2008
【分類號(hào)】：J212

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 余振興;;陸涌人體線描裝飾畫的審美特征[J];數(shù)位時(shí)尚(新視覺藝術(shù));2012年05期

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本文編號(hào)：2196094