多元文化語境下的都市水墨人物畫研究
發(fā)布時間：2018-10-20 13:38
【摘要】：隨著社會形態(tài)的轉型，多元文化語境的逐漸形成，各種各樣的藝術實驗可謂層出不窮，形成了復雜多變的觀念、流派及形形色色的個人風格，進而構成水墨藝術生活中多聲部共存的場景。其中與這個時代的“多元”型藝術氣象息息相通的藝術話語方式——都市水墨人物畫，也通過多維視閾顯示著藝術主體對都市生活的情感體驗。 這一藝術景觀的出現(xiàn)首先得益于當代水墨人物畫向多元化的轉型。所以本文在第一部分中對當代水墨人物畫多元性形成的社會文化原因及其多元性表現(xiàn)進行了分析。正是由于當下的社會文化背景，水墨人物畫藝術才能夠獲得對內的共識性溝通與對外的可比性交流，從而才具有了觀念選擇、藝術媒材和藝術流派上的多元性表現(xiàn)。隨著城市時代的到來，都市生活成為時代的主旋律。作為一種文化現(xiàn)象，與所有精神產物一樣，當代水墨人物畫沒有繞過對這個時代的感受，創(chuàng)造出新的藝術話語——都市水墨人物畫�；诖�，，可以看出都市水墨人物畫的典型性和代表性為我們理解當代水墨藝術文化功能發(fā)展又提供了一個新的向度。時代對于都市水墨人物畫的認同是其得以獲得發(fā)展的可能，但是要深入剖析都市水墨人物畫存在的時代特征，還應需將其與傳統(tǒng)、寫實主義水墨人物畫進行比較，在比較中分析其意義。所以本論文第二章不僅闡述了都市水墨人物畫的發(fā)展狀況，而且也分析了它與傳統(tǒng)、寫實主義水墨人物畫的異同。通過比較我們可以看出，都市水墨人物畫家的智慧，正在于他們不囿于慣有的思維方式，而是兼用多種思維方式，使自身經驗的觸角伸進藝術形象本體之中。于是都市水墨人物畫在很大程度上突破了傳統(tǒng)規(guī)范和精神風貌，修正了傳統(tǒng)水墨的圖式，進行了屬我的創(chuàng)造——從審美觀的變化、藝術語言和表現(xiàn)題材與內容表達上，相對于以往的傳統(tǒng)都是一種創(chuàng)新，體現(xiàn)著時代特質。這也是本論文第三部分探討的內容，也是本論文點睛所在。 都市水墨人物畫蘊涵著都市人的愛恨情仇、信仰與希望，依據自己的情感體驗、價值取向，去選擇題材、表現(xiàn)角度，使畫面上所有的形、色、筆、墨得到有機整合成為自身情感的對應物。都市水墨人物畫用“抒情表現(xiàn)”現(xiàn)實的方式，充分發(fā)揮藝術創(chuàng)造的自由，使“外師”與“心源”在此相聚共生，閃現(xiàn)著中國水墨藝術的熠熠光彩和鮮活生機。
[Abstract]:With the transformation of social formation and the gradual formation of multicultural context, various artistic experiments have emerged in endlessly, forming complex and changeable ideas, schools and various personal styles. And then constitute the scene of the coexistence of multi-sound parts in the life of ink-wash art. Among them, urban ink figure painting, which is closely related to the "plural" artistic atmosphere of this era, also shows the emotional experience of art subject to urban life through multi-dimensional visual threshold. The emergence of this art landscape first benefited from the contemporary ink figure painting to the diversification of the transition. So in the first part, this paper analyzes the social and cultural reasons of the formation of contemporary ink figure painting pluralism and its diversity. It is because of the current social and cultural background that the ink figure painting art can obtain the internal consensus communication and the external comparability exchange, thus has the concept choice, the art medium and the art school multiplex performance. With the arrival of the urban era, urban life has become the main melody of the times. As a cultural phenomenon, like all spiritual products, contemporary ink figure painting has not bypassed the feeling of this era and created a new artistic discourse-urban ink figure painting. Based on this, it can be seen that the typicality and representativeness of urban ink painting provide a new direction for us to understand the cultural function of contemporary ink painting. The recognition of urban ink figure painting is the possibility of its development, but in order to deeply analyze the characteristics of the existence of urban ink figure painting, we should compare it with traditional and realistic figure painting. Analyze its significance in comparison. So the second chapter not only expounds the development of urban ink figure painting, but also analyzes the similarities and differences between it and traditional, realistic ink figure painting. Through comparison, we can see that the wisdom of urban ink and water figure painters is that they are not confined to their usual mode of thinking, but use a variety of modes of thinking, so that the tentacles of their own experience can be reached into the artistic image of Noumenon. As a result, urban ink figure paintings have to a great extent broken through the traditional norms and spiritual features, revised the schemata of traditional ink and water, and carried on my creation from the changes of aesthetic standards, the artistic language and the expression of subjects and contents. Compared with the past tradition is an innovation, reflecting the characteristics of the times. This is also the content of the third part of this paper, but also the focus of this paper. Urban ink figure painting contains city people's love and hatred, faith and hope, according to their own emotional experience, value orientation, to choose the subject matter, performance angle, so that the screen of all the shape, color, pen, Ink gets organic integration into its own emotional counterpart. With the method of expressing emotion and expressing reality, urban ink figure painting can give full play to the freedom of artistic creation, make the "outside teacher" and "heart source" meet together in this place, and flash the brilliance and vitality of Chinese ink painting art.
【學位授予單位】：河南師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212
本文編號：2283341
[Abstract]:With the transformation of social formation and the gradual formation of multicultural context, various artistic experiments have emerged in endlessly, forming complex and changeable ideas, schools and various personal styles. And then constitute the scene of the coexistence of multi-sound parts in the life of ink-wash art. Among them, urban ink figure painting, which is closely related to the "plural" artistic atmosphere of this era, also shows the emotional experience of art subject to urban life through multi-dimensional visual threshold. The emergence of this art landscape first benefited from the contemporary ink figure painting to the diversification of the transition. So in the first part, this paper analyzes the social and cultural reasons of the formation of contemporary ink figure painting pluralism and its diversity. It is because of the current social and cultural background that the ink figure painting art can obtain the internal consensus communication and the external comparability exchange, thus has the concept choice, the art medium and the art school multiplex performance. With the arrival of the urban era, urban life has become the main melody of the times. As a cultural phenomenon, like all spiritual products, contemporary ink figure painting has not bypassed the feeling of this era and created a new artistic discourse-urban ink figure painting. Based on this, it can be seen that the typicality and representativeness of urban ink painting provide a new direction for us to understand the cultural function of contemporary ink painting. The recognition of urban ink figure painting is the possibility of its development, but in order to deeply analyze the characteristics of the existence of urban ink figure painting, we should compare it with traditional and realistic figure painting. Analyze its significance in comparison. So the second chapter not only expounds the development of urban ink figure painting, but also analyzes the similarities and differences between it and traditional, realistic ink figure painting. Through comparison, we can see that the wisdom of urban ink and water figure painters is that they are not confined to their usual mode of thinking, but use a variety of modes of thinking, so that the tentacles of their own experience can be reached into the artistic image of Noumenon. As a result, urban ink figure paintings have to a great extent broken through the traditional norms and spiritual features, revised the schemata of traditional ink and water, and carried on my creation from the changes of aesthetic standards, the artistic language and the expression of subjects and contents. Compared with the past tradition is an innovation, reflecting the characteristics of the times. This is also the content of the third part of this paper, but also the focus of this paper. Urban ink figure painting contains city people's love and hatred, faith and hope, according to their own emotional experience, value orientation, to choose the subject matter, performance angle, so that the screen of all the shape, color, pen, Ink gets organic integration into its own emotional counterpart. With the method of expressing emotion and expressing reality, urban ink figure painting can give full play to the freedom of artistic creation, make the "outside teacher" and "heart source" meet together in this place, and flash the brilliance and vitality of Chinese ink painting art.
【學位授予單位】：河南師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212
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