浅析当代水墨人物画形式语言的时代特征

发布时间：2018-01-31 21:33

本文关键词： 当代水墨人物画形式语言时代特征　出处：《山东师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：形式语言，是画家以表达思想与情感为目的，运用绘画工具，通过各种造型艺术手段，表现创作意图的一种语言模式。了解和掌握形式语言对每一位艺术家来说都是艰难的挑战。这一艰难挑战直接关系到艺术作品的生命力、感染力以及艺术家的成功。因此，形式语言便成为绘画领域探讨研究的永恒主题。本文以当代水墨人物画为研究对象，主要探讨其在当今文化语境下的时代特征，力图展现水墨人物画形式语言的多元发展。本文主要分为以下几个部分：绪论部分主要对当代水墨人物画的概念进行界定，并阐述了当代水墨人物画形式语言的研究现状以及论文研究的目的与意义。第一章主要阐述了20世纪初水墨人物画形式语言。20世纪初期是中国艺术史上最为复杂并出现重大变革的时期，，这一时期的中国水墨人物画创作开始出现了由传统形态向现代的转换。本章主要分析了徐悲鸿和林风眠的形式语言探索。通过分析他们的形式语言特点，阐述笔墨与造型相互碰撞融合的主题。同时，他们的探索也是当代中国水墨人物画多元语言形成的基础。第二章主要阐述水墨人物画形式语言在当代语境下的多元特征。本章第一节简要分析了当代社会及文化现状，目的是探讨当代社会审美观念与生活方式的改变对水墨人物画创作的影响。本章第二节从四个方面论述了当代水墨人物画形式语言的多元发展：一是多元的构图形式；二是多变的造型语言；三是丰富的色彩表现；四是不断拓展的笔墨形式。以当代水墨人物画坛的部分代表性画家为例，将他们在形式语言上的探索进行了简单归类，以便于表达中心观点。通过对画家作品的分析，总结出一个共同特点：他们在艺术创作中始终坚持表现时代特征与人物的精神内涵，并在形式语言上进行创新，探索出自己独有的绘画风格。本章第三节选取了一些具有代表性的青年水墨人物画家并予以介绍。通过分析研究他们的作品，对青年水墨人物画家作品中的形式语言进行解读。许莹、黄丹等都是70后的水墨人物画家，他们对形式语言的探索主要体现在：对历史题材的重新解读；对后现代女性题材的阐释。第三章是我对当代水墨人物画形式语言未来探索的思考。当今社会是一个推崇个性和充满包容的时代，认可多样艺术形式并存。水墨人物画形式语言探索过程中继承传统理念与创新理念并不对立，两者在碰撞中改变，在碰撞中发展。结语部分是对全文的总结。水墨人物画家在创作中洞悉个体差异，同时注重感受当今社会的现实气息与精神特质。他们敬重生活，直面人生，画者与时代同步，水墨人物画在继承与创造中得到新的发展。
[Abstract]:Formal language is a painter to express ideas and feelings for the purpose of using painting tools through a variety of plastic arts means. Understanding and mastering the formal language is a difficult challenge for every artist. This difficult challenge is directly related to the vitality of the works of art. As a result, formal language has become the eternal subject of study in the field of painting. In this paper, the contemporary ink figure painting as the research object, mainly discusses its contemporary characteristics in the cultural context, trying to show the multi-language development of ink figure painting. This paper is divided into the following parts: The introduction part mainly defines the concept of contemporary ink figure painting, and expounds the research status quo of the form language of contemporary ink figure painting and the purpose and significance of the paper research. The first chapter mainly expounds that in 20th century, the form language of ink figure painting was the most complicated period in the history of Chinese art. This period of Chinese ink figure painting creation began to appear from the traditional form to the modern transformation. This chapter mainly analyzes Xu Beihong and Lin Fengmian's formal language exploration. Through the analysis of their formal language characteristics. At the same time, their exploration is the basis of the multilingual formation of contemporary Chinese ink figure painting. The second chapter mainly expounds the multi-features of the form language of ink figure painting in the contemporary context. The first section of this chapter briefly analyzes the contemporary social and cultural situation. The purpose of this chapter is to discuss the influence of the change of the aesthetic concept and life style of contemporary society on the creation of ink figure painting. The second section of this chapter discusses the pluralistic development of the formal language of contemporary ink figure painting from four aspects:. One is the multivariate composition form; Second, the changeable modeling language; Third, rich color performance; The fourth is the continuous expansion of the brush and ink form. Taking some representative painters of contemporary ink painting world as an example, their exploration in formal language is simply classified. In order to express the central point of view, through the analysis of the painter's works, summed up a common feature: they always adhere to the performance of the characteristics of the times and the spirit of the characters in the artistic creation, and in the form of language innovation. To explore their own unique painting style. The third section of this chapter selected a number of representative young artists and to be introduced. Through the analysis of their works. Xu Ying and Huang Dan are all post-70s painters of ink and wash. Their exploration of formal language is mainly reflected in: the reinterpretation of historical subjects; The interpretation of postmodern female themes. The third chapter is my thoughts on the future exploration of the form language of contemporary ink and wash figure painting. Today's society is an era of advocating individuality and full of tolerance. In the process of exploring the form language of ink figure painting, there is no contradiction between the traditional idea and the innovation idea. They change in the collision and develop in the collision. The conclusion part is a summary of the full text. In the creation of ink and ink characters painters know the individual differences, at the same time pay attention to feel the current social atmosphere and spiritual characteristics. They respect life, face life. The painter and the times synchronize, the ink figure painting gets the new development in the inheritance and the creation.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

【共引文献】