發(fā)布時間：2018-08-06 14:15

【摘要】：經(jīng)歷了數(shù)千年發(fā)展的中國人物畫，形成了自身獨(dú)特的審美觀及造型方式，在世界畫壇上占有舉足輕重的地位。陳洪綬——中國畫壇上不可忽視的一位繪畫巨匠，他一生中創(chuàng)作了數(shù)百件藝術(shù)作品，，巧妙的將中國繪畫造型中的夸張性、裝飾性等藝術(shù)規(guī)律應(yīng)用到創(chuàng)作中去，其筆下的人物畫超凡脫俗，極具古拙美和裝飾美。經(jīng)他巧妙構(gòu)思過的人物藝術(shù)表現(xiàn)力遠(yuǎn)遠(yuǎn)超越了人物形象的準(zhǔn)確再現(xiàn)，可謂獨(dú)具匠心，開啟了人物畫創(chuàng)作新風(fēng)。陳洪綬的人物畫作品之所以受到如此高的評價，與他把握住了中國傳統(tǒng)繪畫造型的精髓意象造型是分不開的。 本文在對中國人物畫深入考察的基礎(chǔ)之上，首先引出中國傳統(tǒng)造型方式對“意”的追求，從哲學(xué)、文學(xué)、藝術(shù)不同領(lǐng)域?qū)σ庀蟮睦斫庵邪盐找庀蟮木唧w所指，并最終得出意象造型的概念。其次作者從陳洪綬生活背景以及陳洪綬寫意性藝術(shù)觀形成的原因，還有對陳洪綬繡像作品人物造型三方面進(jìn)行分析，總結(jié)陳洪綬是如何將意象造型應(yīng)用到創(chuàng)作中去的。最后為本論文的重點(diǎn)，那就是我們應(yīng)如何將傳統(tǒng)的意象造型應(yīng)用到當(dāng)今美術(shù)創(chuàng)作中去。研究陳洪綬的畫學(xué)理念和人物造型的方法對當(dāng)代藝術(shù)創(chuàng)作者有很深的啟示作用，這對西方繪畫影響下中國意象造型觀應(yīng)如何繼承與應(yīng)用顯得尤為重要。透過現(xiàn)象看本質(zhì)，深入理解中國繪畫造型的內(nèi)在精神，正確處理“意”與“象”的關(guān)系，將“意象”繼承并發(fā)揚(yáng)光大，創(chuàng)作出更多極富時代特征并極具民族性的高水平繪畫作品。
[Abstract]:After thousands of years of development, Chinese figure painting has formed its own unique aesthetic and styling style, and occupies a pivotal position in the world painting world. Chen Hongshou, a painting magnate who can not be ignored in the Chinese painting world, has created hundreds of works of art in his life, skillfully applying the artistic laws of exaggeration and decoration in Chinese painting modeling to his creation. The figure painting in his works is beyond vulgarity and has the ancient beauty and decorative beauty. The artistic expressiveness of the characters he has cleverly conceived has gone far beyond the exact reproduction of the figures, and it can be said to be ingenious and open up a new style in the creation of figure paintings. The reason why Chen Hongshou's figure painting works are so highly appraised is that he grasps the essence of traditional Chinese painting modeling. Based on the in-depth investigation of Chinese figure painting, this paper first leads to the pursuit of "meaning" in Chinese traditional modeling, and grasps the specific meaning of image in different fields of philosophy, literature and art. Finally, the concept of image modeling is obtained. Secondly, the author from Chen Hongshou life background and Chen Hongshou freehand brushwork art view formation reason, also carries on the analysis to the Chen Hongshou embroidery portrait work character modelling three aspects, summarizes Chen Hongshou how to apply the image modelling to the creation. Finally, the emphasis of this paper is how to apply traditional image modeling to art creation. The study of Chen Hongshou's theory of painting and the method of character modeling has a deep enlightenment to contemporary art creators, which is particularly important for how to inherit and apply the Chinese image modeling under the influence of western painting. Seeing the essence through the phenomenon, deeply understanding the inner spirit of Chinese painting modeling, correctly handling the relationship between "meaning" and "image", inheriting and carrying forward the "image", Create more high-level paintings with the characteristics of the times and nationality.
【學(xué)位授予單位】：海南師范大學(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8條

1 查永玲;;陳洪綬美學(xué)理念解析[J];東方博物;2005年04期

2 吳自立;陳洪綬晚期繪畫的文化心理分析[J];杭州師范學(xué)院學(xué)報(bào)(自然科學(xué)版);2003年06期

3 王佳爽;;淺談陳洪綬及其作品中的意象性[J];美術(shù)大觀;2010年07期

4 崔虹;;中國古典哲學(xué)對中國畫的影響[J];美術(shù)大觀;2010年04期

5 張傳濤;;陳洪綬人物畫的裝飾性[J];山東大學(xué)學(xué)報(bào)(哲學(xué)社會科學(xué)版);2010年04期

6 吳自立;;陳洪綬師古“集大成”論[J];藝術(shù)探索;2009年02期

7 陳建用;;“文人逸氣”與“民間勁氣”——陳洪綬卷軸畫人物的造型特征[J];文藝研究;2011年09期

8 梁玖;;中國當(dāng)代學(xué)院美術(shù)教育重度缺失的內(nèi)容[J];藝術(shù)百家;2011年04期

相關(guān)碩士學(xué)位論文 前1條

1 謝軍;工筆人物畫的意象研究及教學(xué)[D];湖南師范大學(xué);2002年

本文編號：2167989