当代中国写意人物画中的泛艳俗性现象研究

发布时间：2018-06-17 03:50

本文选题：中国写意人物画 + 泛艳俗　；参考：《广西师范大学》2010年硕士论文

【摘要】： 中国写意人物画有悠久的历史,一直都是历代文人抒发情感、陶冶情操的载体。明清以来,江苏吴门地区书画商品经济发展迅速,形成了书画交易,经济文化的发展带动了中国写意人物画的现代化演进。中国当代写意人物画中的泛艳俗性现象是写意人物画的创作随着大众文化的发展而出现的一种新的创作思路。写意人物画曾在西方造型文化、民间年画和版画等艺术中吸收技法,经过几番争论后取得到了较大的突破。改革开放后,大众文化发展迅速,特别是90年代以来,广告、美食、电影、卡通等商业活动占据了大众生活的主要部分,生活环境的变化导致了大众审美趣味的改变,关于中国画写意人物的现代性探索也随着大众文化的发展而不断尝试新的创作思路。中国写意人物画家置身于大众文化快速发展的时代,从各种观念、思潮中寻找切入当代的话题,写实、抽象、实验水墨都是当下的语言,其中也不乏有一些泛着艳俗气息的作品。这些作品不是“艳俗艺术”,却象一个叛逆的少年在面对传统的水墨观念和文化时候展示自己的想法和个性,泛艳俗性的中国画写意人物创作以一种对生活的平视的视角来关注当代人的生存状态和心理体验,这些作品挑战了我们一贯以来对中国画的审美期待。研究大众的审美心理过程从“少见多怪”到“见怪不怪”,最终演化成赏心悦目的过程,剖析这种现象的背景和特征对写意人物画创作思路的拓展有一定意义。在大众文化的语境中,泛艳俗性主要体现在创作语言和创作思路上,主要特征表现为:第一,中国写意人物画的泛艳俗现象中的作品着力体现游历于日常生活之中的休闲美感。这主要表现在绘画取材于世俗生活,画家用豪放、豁达的文士情怀,把生活中的“艳情”、“欲望”直接展现在大众面前,然而作品中对生活的敏感和真实的态度却成就了大俗大雅、大道自然的艺术品质。第二,女性是写意人物画中出现较多的内容,在泛艳俗性现象的背景中女性的形象在画面中却多了一层意义。当代人被生存压力环绕,而女性则代表了家庭式的温馨,女性成为大众慰藉心灵创伤的“岛屿”;另外,我国大众文化发展历程也是经济飞速发展的过程,女性形象随着经济的发展而逐渐脱离家庭,进入社会和男人们共同承担社会压力,这是传统女性形象的异化,画家在创作中也会关注到这个现象。第三,卡通文化也是大众文化中的重要部分。对于80后、90后乃至00后的年轻人,卡通已经是他们生活中的主要休闲娱乐,画家用水墨语言建立了一种对新生代的批评方式,这也是中国写意人物画泛艳俗性现象的一个重要特征。中国写意人物画的泛艳俗性现象中对“艳俗”生活进行真实而无批判立场的描绘是一个主要创作思路,和其他新兴事物一样,这种新创作思路不免带有不足之处,泛艳俗性写意人物画的部分作品也存在内容空泛、肤浅和片面追求感性体验的不足,但是这些作品审视生活的独到角度和对大众文化的包容性有利于拓展中国写意人物画的创作思路。
[Abstract]:The Chinese painting of freehand brushwork has a long history, which has always been the carrier of emotions and edification of the literati in the past dynasties. Since the Ming and Qing Dynasties, the economy of calligraphy and painting has developed rapidly in Jiangsu Wu gate area, forming a book and painting trade, and the development of economic and cultural development has led to the modernized evolution of Chinese freehand figures.
The ubiquitous and popular phenomenon in Chinese contemporary portraiture of freehand brushwork is a new creative thinking in the creation of freehand figure painting with the development of popular culture. The painting of freehand figure painting has absorbed techniques in Western plastic culture, folk painting and print, and after several arguments, it has made a great breakthrough. After the reform and opening up, the public Culture has developed rapidly, especially since 90s, commercial activities such as advertising, food, film and cartoons have occupied the main part of the public life. The changes in the living environment have led to the change of the aesthetic taste of the masses. The exploration of the modernity of Chinese painting freehand characters has also been trying new creative ideas with the development of mass culture.
In the era of rapid development of popular culture, Chinese freehand figure painters are looking for contemporary topics from all kinds of ideas and ideas. Realistic, abstract, and experimental ink and ink are the language of the present, and there are also some works that have some popular flavor. These works are not "gaudy art", but like a rebellious teenager in the face of tradition. The concept and culture of the ink and wash show their own ideas and personalities. The creations of the freehand Chinese painting and freehand people are concerned with the living state and psychological experience of the contemporary people with a kind of visual angle of life. These works challenge the aesthetic period of Chinese painting that we have always been. It has a certain significance to expand the background and characteristics of this phenomenon to expand the creative thinking of freehand figure painting.
In the context of mass culture, the main features of the general colourful vulgarity are reflected in the creative language and creative thinking. The main features are as follows: first, the works of the Pan Yan phenomenon of Chinese freehand figure painting focus on the leisure and beauty of the daily life. This is mainly manifested in painting from the secular life, and the painter uses bold and open-minded scholars. Feelings, the "love" and "desire" in life are displayed directly in front of the public. However, the sensitive and true attitude of the works to life has achieved great elegance and the natural artistic quality of the Boulevard. Second, women are more content in the painting of freehand characters, and the image of women in the background of the ubiquitous vulgarity is in the picture. There is a layer of meaning. The contemporary people are surrounded by the pressure of survival, while women represent the warmth of the family style. Women become "islands" for the mass consolation of mental trauma. In addition, the development of mass culture in China is also a process of rapid economic development. With the development of the economy, the female image has gradually separated from the family and entered the society and the men. Bear the social pressure, this is the alienation of the traditional female image, the painter will also pay attention to this phenomenon in the creation. Third, the cartoon culture is also an important part of the mass culture. For the post-80s, the post-90s and the 00 young people, the cartoon has been the main recreational amusement in their life, the painter established a new generation with the ink language. The way of criticism is also an important feature of the universal phenomenon of freehand figure painting in China.
The portrayal of the true and uncritical position of the "gaudy" life in Chinese freehand painting is a major creative idea. Like other emerging things, the new creative ideas are inadequacies. Some of the paintings of the Pan Yan and popular freehand brushwork have empty content, superficial and one-sided pursuit of sensibility. The lack of experience, but these works examine the unique perspective of life and the inclusiveness of mass culture, which is conducive to expanding the creative thinking of freehand figure painting in China.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J212

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