現(xiàn)當(dāng)代中國(guó)戲曲水墨人物畫研究
發(fā)布時(shí)間：2018-10-21 18:09
【摘要】：20世紀(jì)的中國(guó)，伴隨著中西文化融合的大潮，中國(guó)的藝術(shù)家們也開始重新審視和反省自身的藝術(shù)方向。于是在中國(guó)畫自身體系內(nèi)出現(xiàn)了以潘天壽、黃賓虹、李可染、傅抱石等為代表的溫和改良派大師。同時(shí)也出現(xiàn)了如林風(fēng)眠、徐悲鴻、關(guān)良等主張中西結(jié)合的藝術(shù)大師。在他們的引領(lǐng)下，中國(guó)畫壇開始了新一輪的改革風(fēng)潮。 而以關(guān)良和林風(fēng)眠為代表的戲曲水墨人物畫的出現(xiàn)，，不僅在一定程度上彌補(bǔ)了中國(guó)畫在題材上的缺失，更重要的是他們?cè)趹蚯宋锂嫹矫娴拇竽憞L試，將中西藝術(shù)的融匯向前大大的推進(jìn)了一步。由于戲曲自身就是一種高度凝練、高度程式化的藝術(shù)形式，并且與中國(guó)畫之間有著千絲萬(wàn)縷的聯(lián)系，如虛擬、夸張、寫意等美學(xué)特征，所以十分有利于中國(guó)畫擺脫寫實(shí)繪畫的束縛，從而在一種藝術(shù)形式的基礎(chǔ)上完成對(duì)另一種藝術(shù)形式的探索。而這種探索在現(xiàn)在的畫壇依然有重要的參考價(jià)值。 本論文將從中國(guó)戲曲和中國(guó)畫的審美共性出發(fā)，通過(guò)對(duì)現(xiàn)當(dāng)代戲曲水墨人物畫發(fā)展和傳承的梳理。分析比較中國(guó)戲曲水墨人物畫家在藝術(shù)構(gòu)思和藝術(shù)實(shí)踐中的共性和差異性，分析當(dāng)代戲曲水墨人物畫發(fā)展現(xiàn)狀及其形成的原因。總結(jié)得出中國(guó)戲曲人物畫對(duì)當(dāng)代中國(guó)水墨人物畫創(chuàng)作的影響及啟示。
[Abstract]:In the 20th century, Chinese artists began to re-examine and reflect on their own artistic direction with the tide of Chinese and Western culture merging. Therefore, in the system of traditional Chinese painting, there appeared the moderate and reformist masters represented by Pan Tianshou, Huang Binhong, Li Keran, etc. At the same time, such as Lin Fengmian, Xu Beihong, Guan Liang advocated the combination of Chinese and Western masters of art. Under their guidance, the Chinese painting world began a new wave of reform. However, the appearance of traditional Chinese painting, represented by Guan Liang and Lin Fengmian, not only makes up for the lack of Chinese painting in subject matter to a certain extent, but also makes up for their bold attempt in the aspect of traditional Chinese character painting. The integration of Chinese and Western art to a significant step forward. Because the opera itself is a highly condensed, highly stylized art form, and there are inextricably linked with Chinese painting, such as virtual, exaggeration, freehand brushwork and other aesthetic characteristics, Therefore, it is very helpful for Chinese painting to get rid of the bondage of realistic painting and to complete the exploration of another art form on the basis of one kind of art form. But this kind of exploration still has the important reference value in the present painting world. This paper will start from the aesthetic generality of Chinese opera and Chinese painting, through the development and inheritance of modern and contemporary traditional Chinese painting. This paper analyzes and compares the commonness and difference of Chinese traditional Chinese character artists in their artistic conception and practice, and analyzes the present situation of the development of contemporary traditional Chinese opera and ink figure painting and the reasons for their formation. Summing up the influence and enlightenment of Chinese traditional Chinese figure painting on contemporary Chinese ink figure painting creation.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
本文編號(hào)：2285923
[Abstract]:In the 20th century, Chinese artists began to re-examine and reflect on their own artistic direction with the tide of Chinese and Western culture merging. Therefore, in the system of traditional Chinese painting, there appeared the moderate and reformist masters represented by Pan Tianshou, Huang Binhong, Li Keran, etc. At the same time, such as Lin Fengmian, Xu Beihong, Guan Liang advocated the combination of Chinese and Western masters of art. Under their guidance, the Chinese painting world began a new wave of reform. However, the appearance of traditional Chinese painting, represented by Guan Liang and Lin Fengmian, not only makes up for the lack of Chinese painting in subject matter to a certain extent, but also makes up for their bold attempt in the aspect of traditional Chinese character painting. The integration of Chinese and Western art to a significant step forward. Because the opera itself is a highly condensed, highly stylized art form, and there are inextricably linked with Chinese painting, such as virtual, exaggeration, freehand brushwork and other aesthetic characteristics, Therefore, it is very helpful for Chinese painting to get rid of the bondage of realistic painting and to complete the exploration of another art form on the basis of one kind of art form. But this kind of exploration still has the important reference value in the present painting world. This paper will start from the aesthetic generality of Chinese opera and Chinese painting, through the development and inheritance of modern and contemporary traditional Chinese painting. This paper analyzes and compares the commonness and difference of Chinese traditional Chinese character artists in their artistic conception and practice, and analyzes the present situation of the development of contemporary traditional Chinese opera and ink figure painting and the reasons for their formation. Summing up the influence and enlightenment of Chinese traditional Chinese figure painting on contemporary Chinese ink figure painting creation.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212
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本文編號(hào)：2285923
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