中国近代文人画与欧洲现代派绘画比较研究

发布时间：2018-02-27 09:26

本文关键词： 近代文人画西方现代派绘画比较研究　出处：《浙江理工大学》2014年硕士论文　论文类型：学位论文

【摘要】：19世纪末20世纪初，中国处于内忧外患的历史时期。文人画作为中国绘画的典型形态发展到此时被激进的有识之士一阵口诛笔伐。正当传统文人画似要步入穷途之时，新一代文人画家继承并发扬了这一传统，锲而不舍地追求“带有文人之性质”的近代文人画。与此同时，在欧洲画坛孕育的巨大变革也随着新世纪的到来席卷了整个西方社会。现代派绘画以偏离传统写实风格的形态，宣示了画家主观精神的决定性作用。欧洲画家们再也不满足于重现客观对象，并将绘画拉回到真正属于它的基本形态。中国近代文人画与欧洲现代派绘画大致处于同一时期，也似乎颇许有多相似的艺术理念和创作态度。但作为根植于不同文化背景的绘画，两者也存在明显差异。这样看来它们之间的比较研究就显得必要且顺应时代了。本论文以一个绘画实践者的角度来对二者进行比较研究，从中国近代文人画和欧洲现代派绘画各自的题材、构图、造型、色彩入手，并结合二者的自然观念、传统观念、审美感受和画家群体等多个角度进行比较。与逆向对位式研究以结论为先的方法不同，本文避免采用武断概括的结论使研究偏离正规，而从绘画实践者最为关注的问题入手，使研究紧扣实践，进而防止空洞的理论罗列。本文以中国近代文人画和欧洲现代派绘画的比较为研究重点，，分为以下四个部分：绪论部分，重点介绍本文的研究目的与意义，文章涉及的相关概念及该领域的研究现状；第一章，论述1840年至1949年间中国文人画的存在状况，概述期间关于文人画的争论；第二章，论述欧洲现代派绘画的发展情况和它产生的渊源；第三章为本论文的重点，在前两章的基础上分别从绘画的题材、自然观念、构图语言、用笔、色彩语言、造型语言、审美感受以及画家群体特征这些方面进行深入的异同比较研究。笔者从以上研究得出结论：中国近代文人画与欧洲现代派绘画产生于各自不同的文化体系，没有孰优孰劣的高低之分，既不能孤芳自赏，对外来艺术全盘否定；也不能全盘西化，无视中国画本身的意蕴。
[Abstract]:At the end of 19th century and the beginning of 20th century, China was in a historical period of internal and external troubles. Literati painting, as a typical form of Chinese painting, developed until it was criticized and written by radical people of insight. Just as traditional literati paintings seemed to be on their way to poverty, The new generation of literati painters inherited and carried forward this tradition and persevered in the pursuit of "literati nature" of modern literati painting. With the arrival of the new century, the great changes in European painting have swept the whole western society. Modern painting deviates from the form of traditional realistic style. European painters are no longer satisfied with reproducing objective objects and drawing painting back to its true basic form. Chinese modern literati painting and European modernist painting are roughly in the same period, and it seems that there are some similar artistic ideas and creative attitudes. But as a painting rooted in different cultural backgrounds, There is also a clear difference between the two. It seems that the comparative study between them is necessary and in line with the times. This paper makes a comparative study of the two from the perspective of a painting practitioner. Starting with the subject matter, composition, modeling and color of Chinese modern literati painting and European modernist painting, and combining their natural concepts and traditional concepts, Different from the reverse contrastive approach, which is based on the conclusion first, this paper avoids the arbitrary conclusion to make the research deviate from the normal, and starts with the problems that the painting practitioners pay most attention to. Make the research close to practice, and then prevent empty theory list. This paper focuses on the comparison between modern Chinese literati painting and European modernist painting, which is divided into the following four parts: the introduction part, focusing on the purpose and significance of this study, the related concepts involved in the article and the current research situation in this field; The first chapter discusses the existence of Chinese literati painting from 1840 to 1949, summarizes the controversy about literati painting during the period; the second chapter discusses the development of European modernist painting and its origin; the third chapter is the focus of this paper. On the basis of the first two chapters, from the painting subject matter, the concept of nature, the composition language, the pen, the color language, the modelling language, The author draws a conclusion from the above research that Chinese modern literati painting and European modernist painting originated from different cultural systems. There is no difference between the superior and the inferior. Neither can we completely deny the foreign art, nor can we completely westernize and ignore the implication of Chinese painting itself.
【学位授予单位】：浙江理工大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.1

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