山水画写生研究

发布时间：2018-04-05 12:05

本文选题：写生　切入点：图式　出处：《中国美术学院》2016年博士论文

【摘要】：本论文通过分析山水画写生的“游观、体悟、默记、对景写生”1等方式,对历代典型的山水画写生作品的图式进行比较,探究山水画写生与图式的笔墨2关系。文中阐述了历代山水画写生的观点、类型,梳理了写生的传承、积累和不同时期的文化对其外在的引领作用。山水画写生萌芽期“游观之境”是写生因素产生的基础,文中根据写生对山水画图式所起的作用以及对山水画诸法演变的影响,分析了写生与图式形成的笔墨关系。西学东渐下山水画的代表性写生观如黄宾虹先生的游观与古法写生、李可染先生的对景写生与笔墨语言转换、陆俨少先生的写生与创作的关系等影响了之后的写生观,其独特的笔墨语言体现了山水画图式变换。写生对当代山水画的笔墨语言的意义在于改变了近代山水画坛的衰微状态,画家在写生中扩充了中国画的笔墨形质,创造了新图式,构成其独特的符号。当代山水画写生存在着多种模式,其中的“对景写生”与传统的“游观、体悟、默记”相比,更是创造了无穷的笔墨语言与价值旨趣。本论文的意义在于从审美角度、观察方法、笔墨语言等方面论述传统与当代山水画写生的区别,当代山水画写生是对传统写生方式的传承与创新,写生对形成山水画图式中的笔墨语言提供原创经验。从山水画写生的多元意识、当代画家通过写生对山水画图式形成的多种尝试等方面,概述了山水画写生的当代趋向。在当代画家融合中西、多元发展,关注生活、激发笔墨语言的同时,也发现一些山水画写生的“误区”,值得当下画坛深思。本论文笔者通过学习中国画学、哲学,考证博物馆的作品实物以及历代的文献资料,对历代山水画写生作品进行解读与比较,集多次学术研讨会理论成果,辅以具体的作品个案研究,从山水画写生的发展过程阐述不同时期的图式变化,研究当代山水画写生方式对图式中笔墨语言发展的意义。其切入方式既结合历代对写生主题理论的研究,又集当代活跃于画坛的优秀画家的探索、感悟与理念、切身体会去理解山水画理论法则,明确在写生过程中提炼、升华图式对笔墨语言的要求。本论文的结论为当代山水画写生站在继承传统笔墨语言、自然结构,借鉴外来文化又不同于彼此的交汇点上,以“游观、体悟、默记、对景写生”等方式为写生源泉,创造了新的笔墨语言,这种综合的状态将影响山水画当代的图式形态。
[Abstract]:In this paper, through the analysis of the landscape painting "tour view, understanding, silent record, landscape sketch" and other ways to compare the past typical landscape painting sketching works schema, to explore the landscape painting painting and schematic ink 2 relations.This paper expounds the viewpoints and types of painting of landscape painting in the past dynasties, and combs the inheritance, accumulation and culture of different periods of time to its external leading role.The representative view of painting of landscape painting from the west to the east, such as Mr. Huang Binhong's view of traveling and the painting of the ancient method, the contrast sketch of Mr. Li Keran and the language conversion of pen and ink, the relationship between painting and creation of Mr. Lu Yanshao, and so on, have influenced the later view of sketching.Its unique stroke and ink language embodies the transformation of landscape painting schemata.The meaning of painting on contemporary landscape painting is that it has changed the declining state of modern landscape painting. In the painting, the painter has expanded the shape of Chinese painting, created a new schema and formed its unique symbol.There are a variety of models in contemporary landscape painting, among which, the "opposite landscape painting" and the traditional "tour view, understanding, silent notes", but also create an infinite pen and ink language and value purport.The significance of this paper is to discuss the differences between traditional and contemporary landscape painting from the aspects of aesthetic, observation methods, and the language of brush and ink, etc. The contemporary landscape painting is the inheritance and innovation of traditional painting.Sketches provide original experience in the formation of brush and ink language in landscape painting schemata.This paper summarizes the contemporary trend of landscape painting drawing from the multi-consciousness of landscape painting and the attempts made by contemporary painters to form landscape painting schemata.While contemporary painters combine Chinese and Western, pluralistic development, pay attention to life, stimulate the language of pen and ink, they also find some "misunderstandings" in painting of landscape painting, which is worth pondering in the contemporary painting world.By studying the Chinese painting, philosophy, the works of the museum and the literature of the past dynasties, the author interprets and compares the sketching works of the landscape paintings of the past dynasties, and gathers the theoretical results of many academic seminars.In addition to the specific works of case studies, from the development process of landscape painting sketches to explain the different periods of schema changes, to study the contemporary landscape painting painting style of the development of the ink and brush language in the schemata significance.It not only combines the research of painting theme theory in the past dynasties, but also gathers the exploration, perception and idea of the outstanding painters who are active in the painting world, so as to understand the theoretical principles of landscape painting, and clearly refine it in the process of painting.Sublimation of schema on the language of ink and pen requirements.The conclusion of this paper is that contemporary landscape painting is based on inheriting the traditional brush and ink language, natural structure, drawing lessons from foreign culture, and is different from each other.Created a new pen and ink language, this comprehensive state will affect the contemporary landscape painting schema form.
【学位授予单位】：中国美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J212

【相似文献】