藏族题材中国人物画的创作与研究

发布时间：2018-01-31 00:02

本文关键词： 中国人物画藏族题材发展创作重点布局色彩造型语言　出处：《山东大学》2013年硕士论文　论文类型：学位论文

【摘要】：藏族题材中国人物画可以说是中华民族相互团结与相互融合文化结晶。它涵盖了反映藏族同胞历史生活状态的绘画,以及不同时代运用中国画语言探索来表现藏族题材的绘画,同时绘就了一部藏区百年来社会发展的形象史,是中国少数民族题材绘画的重要组成部分。在这一创作领域,经过无数前辈努力,为我们留下的经典作品不胜枚举,正是有了这些艺术家的付出才使得这段美术史充满了壮丽民族色彩。就目前来说表现藏族题材绘画的作品和画家屡见不鲜,但是对于藏族题材这方面的理论研究仍然较少。对其进行更深入的探究极其必要,在实践的基础之上对其进行理论的延伸和拓展,必将推动中国当代少数民族题材绘画这一领域的发展与创新。本文以藏族题材中国人物画为主线,对早期的藏族美术发展进行了追溯,对新中国成立以来藏族题材中国人物画的思想观念和表现手段的演变更新进行了梳理和研究,并结合每个时期代表性的作品以及画家进行了分析,对藏族题材中国人物画的创作重点进行了分析主要表现在民族精神和民族服饰,以及藏民族的世俗与宗教生活几个方面,结合近些年当下的画家及优秀作品从作品面貌、经营布局、民族色彩、造型语言进行了分析探讨,在论文写作期间,笔者搜集整理了相关的文献资料和图像资料,并进行了大量藏族题材人物画的笔墨实践与创作。全文主要分为五个章节,第一章是对早期藏传佛教美术的陈述,第二章的内容结合画家及作品分析对建国后两个发展时期进行了梳理,第三章分析了藏族题材人物画创作重点,主要概括为突出民族精神、独具表现性的民族服饰、民俗及宗教节日几个方面。第四章通过作品面貌、经营布局、民族色彩、和造型语言这四个方面对藏族题材人物画进行了研究,尤其在造型语言方面结合了自己在攻读硕士期间的创作实践进行分析,对写实与写意包容兼顾的表现方法进行了探索。总结出人物画的创作过程中不仅要在“实象”之处精雕细琢,同时也要在“空白”之处经营推敲,方能取得“全局皆佳”的艺术效果。正确处理好二者的关系,做到“写实”“写意”的形式和谐与统一是至关重要的。在文章的最后是笔者对现当下藏族题材中国人物画领域对存在的一些现象的思考和浅见。一是中国传统文化精神的流失；二是在绘画表现形式上体现出样式单一；三是理论指导相对与艺术实践的滞后。
[Abstract]:Chinese figure painting with Tibetan theme can be said to be the crystallization of the Chinese nation's unity and mutual fusion of culture. It covers paintings that reflect the historical living conditions of Tibetan compatriots. And different times to explore the use of Chinese painting language to express the Tibetan theme of painting, at the same time painted a Tibetan area over the past hundred years of social development of the image history. It is an important part of Chinese minority painting. In this field of creation, through the efforts of countless predecessors, the classic works left for us are endless. It is with the efforts of these artists that this period of art history is full of magnificent national color. At present, the performance of Tibetan painting works and painters are common. But for the Tibetan theme of this aspect of theoretical research is still less. It is extremely necessary to conduct a more in-depth exploration, on the basis of practice on the basis of its theoretical extension and expansion. It will promote the development and innovation of Chinese contemporary minority painting. In this paper, the Tibetan theme of Chinese figure painting as the main line, the early development of Tibetan fine arts have been traced back. This paper combs and studies the evolution and renewal of Tibetan theme Chinese figure painting since the founding of New China, and analyzes the representative works and painters of each period. The emphasis of the creation of Chinese figure painting of Tibetan theme is analyzed in the aspects of national spirit and national dress, as well as the secular and religious life of Tibetan nationality. Combined with the current painters and excellent works in recent years from the work appearance, business layout, national color, modeling language analysis and discussion, during the writing of the paper. The author collected and sorted out the relevant literature and image materials, and carried out a large number of Tibetan subject figure painting practice and creation. The full text is divided into five chapters, the first chapter is the statement of the early Tibetan Buddhist art. The content of the second chapter combined with the painter and work analysis of the two development periods after the founding of the Republic of China combed the third chapter analyzed the Tibetan theme figure painting creative focus mainly summarized for highlighting the national spirit. 4th chapter through the work appearance, business layout, national color, and modeling language of the Tibetan theme figure painting were studied. Especially in the modeling language combined with their own in the period of master's creative practice to analyze. This paper explores the expressive methods of realism and freehand brushwork, and concludes that the creation process of figure painting should not only be meticulous in the "reality", but also in the "blank" management. In order to achieve the "overall good" artistic effect. Correctly handle the relationship between the two. Achieve "realistic" "freehand brushwork" At the end of the article, the author thinks and thinks about some phenomena existing in the field of Chinese figure painting on the Tibetan subject matter. First, the loss of the spirit of Chinese traditional culture; Second, the form of expression in the painting reflects a single style; The third is the lag between theoretical guidance and artistic practice.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】