發(fā)布時(shí)間：2018-05-30 02:38

  本文選題：龍清廉 + 人物畫(huà)　； 參考：《新疆師范大學(xué)》2014年碩士論文

【摘要】：“藝術(shù)來(lái)源于生活，生活的主體是人民�！饼埱辶�的繪畫(huà)藝術(shù)是為廣大人民群眾服務(wù)的。在他的畫(huà)面當(dāng)中，沒(méi)有浪漫主義的激情，也沒(méi)有享樂(lè)主義的奢華，只有那些普普通通的老百姓。因此，龍清廉的畫(huà)老百姓能看懂，龍清廉的字，老百姓也能讀懂，因?yàn)檫@上面畫(huà)的、寫(xiě)的都是老百姓的百態(tài)人生，表現(xiàn)出來(lái)的都是生活的酸甜苦辣。迫于對(duì)藝術(shù)的痛苦與責(zé)任，龍清廉年到古稀，仍然心燈不滅，孤獨(dú)堅(jiān)守，用畫(huà)面?zhèn)鬟_(dá)著對(duì)農(nóng)民生活的密切關(guān)注。 本文共分為五個(gè)部分對(duì)龍清廉的繪畫(huà)藝術(shù)進(jìn)行論述。第一部分是文章的導(dǎo)言，包括選題緣由，研究現(xiàn)狀，研究方法，本文的創(chuàng)新與不足之處這四個(gè)部分；第二部分主要講述龍清廉在中央美術(shù)學(xué)院，，師從蔣兆和、葉淺予、李可染學(xué)習(xí)人物畫(huà)的經(jīng)歷，以及貫穿中西的繪畫(huà)方法；第三部分主要講述龍清廉人物畫(huà)的藝術(shù)成就，并對(duì)其水墨人物畫(huà)造型規(guī)律進(jìn)行總結(jié)；第四部分對(duì)龍清廉的水墨人物畫(huà)的藝術(shù)特色、全身像、群像、繪畫(huà)內(nèi)外結(jié)構(gòu)及詩(shī)文題跋做詳細(xì)的分析；第五部分講述龍清廉現(xiàn)代寫(xiě)實(shí)水墨人物畫(huà)的貢獻(xiàn)與社會(huì)影響。 龍清廉是一位為人民服務(wù)的藝術(shù)家，幾十年默默耕耘，筆根不輟，對(duì)中國(guó)畫(huà)的發(fā)展研究做出了杰出的貢獻(xiàn)，為新疆中國(guó)畫(huà)格局奠定了基礎(chǔ)�，F(xiàn)將有關(guān)龍清廉的資料進(jìn)行分類(lèi)整理，做進(jìn)一步的分析和研究，盡自己的微薄之力為后來(lái)者積累、提供參考資料；同時(shí)也學(xué)習(xí)和借鑒老一輩藝術(shù)家的繪畫(huà)方法和技巧，傳承他們?cè)谒囆g(shù)領(lǐng)域孜孜不倦的創(chuàng)新精神和奉獻(xiàn)精神。
[Abstract]:"Art comes from life, and the main body of life is the people." Long clean painting art is for the general public service. There was no romantic passion, no hedonistic luxury, only ordinary people. Therefore, the ordinary people can understand long and clean, the people can read, because this above, write is the people's life, showing the ups and downs of life. Forced by the pain and responsibility of art, long clean years to the ancient rare, still heart lamp, lonely stick, using the picture to convey the close attention to the life of farmers. This paper is divided into five parts to discuss the painting art. The first part is the introduction of the article, including the reason of selecting the topic, the research status, the research method, the innovation and the deficiency of this paper. The second part is mainly about Longqian in the Central Academy of Fine Arts, under Jiang Zhaohe, Ye Qianyu, Li Keran studies the experience of figure painting and the painting methods running through China and the West. The third part mainly narrates the artistic achievement of long and clean figure painting and summarizes the modeling law of its ink figure painting. The fourth part makes a detailed analysis of the artistic characteristics, the whole body image, the group image, the inside and outside structure of the painting and the poem inscription and postscript; the fifth part narrates the contribution and the social influence of Longqian modern realistic ink figure painting. Long Qinglian is an artist who serves the people. He has worked in silence for decades and has made outstanding contributions to the development of Chinese painting and laid the foundation for the pattern of Xinjiang Chinese painting. We are now classifying and sorting out the relevant materials about long and clean, making further analysis and research, and doing our best to accumulate and provide reference materials for the latecomers. At the same time, we will also learn and learn from the painting methods and techniques of the older generation of artists. They inherit their tireless creative spirit and dedication in the field of art.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 李開(kāi)榮;;湘西苗家農(nóng)民之子阿龍[J];新疆藝術(shù)學(xué)院學(xué)報(bào);2009年01期

2 龍清廉;;《和田一條街》創(chuàng)作簡(jiǎn)述[J];新疆藝術(shù)學(xué)院學(xué)報(bào);2011年04期

本文編號(hào)：1953557