林风眠戏曲人物画的艺术特色研究

发布时间：2018-03-02 00:35

本文关键词： 林风眠戏曲人物画艺术特色　出处：《郑州大学》2017年硕士论文　论文类型：学位论文

【摘要】：中国进入20世纪以后,伴随着国门敞开的西方新思潮新文化不断涌入,推动着近现代中国文化的变革,而作为近现代中国文化之一部分的中国现代美术自然也不得“独善其身”,改革之路势在必行。林风眠作为20世纪中国美术的艺术先驱,倡导并实践着中西融合的艺术之路,对现代美术发展有着极大的贡献。文章主要论述留法归来的林风眠“中西融合”的戏曲人物画的艺术特色,其在“中学为体,西学为用”的方针指导下,注重中国传统文化精神,同时借鉴西方绘画语言形式,以戏曲人物画为载体赋予中国画以全新的审美感受,形成了富有特色的戏曲人物画艺术。论文介绍了林风眠戏曲人物画的创作历程,分别从重庆时期、上海时期、香港时期三个时期进行梳理与总结,体现了其“中西融合”的绘画技法和理念不断发展成熟的过程。文章重点论述了林风眠戏曲人物画的艺术特色内容,主要分为三个方面进行了阐述。首先体现在林风眠戏曲人物画独特的绘画艺术语言方面,从构图形制、线条、人物造型等因素进行了分析;其次表现在中国文人写意情怀与西方表现主义的融合方面,林风眠在创作时把握住了中国文化精神,努力寻到中西绘画在哲学、审美、艺术观念等方面的结合点并寻找到切合自己的风格、模式和语汇。最后,体现其个性化的笔墨观方面,林风眠并没有抛弃笔墨,只是在用笔方面舍弃了以书法用笔为核心的传统笔墨规范,而在广泛中国其他传统艺术精华的基础上创造了新的用笔方式。当今人物画的发展面貌丰富而多样,而解决写实造型与写意笔墨之间的矛盾仍是现代写意人物画的发展道路上不可规避的难题,林风眠的戏曲人物画对于当代人物画的发展仍具有重要的指导意义。
[Abstract]:After China entered 20th century, with the new western trend of thought and new culture coming in with the opening of the country, it promoted the transformation of Chinese culture in modern times. As a part of modern Chinese culture, modern Chinese art can not be "alone", and the road of reform is imperative. In 20th century, Lin Fengmian, as an art pioneer of Chinese art, advocated and practiced the road of combining Chinese and Western arts. It is a great contribution to the development of modern art. This article mainly discusses the artistic characteristics of the traditional Chinese figure painting of Lin Feng-mian 's "the combination of Chinese and Western", which is guided by the policy of "middle school is the body and western learning is the use". Pay attention to the spirit of Chinese traditional culture, at the same time draw lessons from the western painting language form, with traditional Chinese figure painting as the carrier to endow Chinese painting with a new aesthetic feeling, This paper introduces the creation process of Lin Fengmian's figure painting, which is summarized from three periods: Chongqing period, Shanghai period, Hong Kong period. It reflects the process of the continuous development and maturity of his painting techniques and ideas of "the fusion of China and the West". The article focuses on the artistic characteristics of Lin Fengmian's figure painting. It is mainly divided into three aspects. Firstly, it is embodied in the unique artistic language of Lin Fengmian's figure painting, and analyzes the factors such as composition, line, figure modeling and so on. Secondly, in the fusion of Chinese literati's feelings of freehand brushwork and Western expressionism, Lin Fengmian grasped the spirit of Chinese culture and tried to find out the philosophy and aesthetics of Chinese and Western paintings. Finally, Lin Fengmian did not abandon pen and ink, which reflected his individualized view of pen and ink, and found his own style, mode and vocabulary. It is only in the aspect of using the pen that the traditional brush and ink standard, which is the core of calligraphy, has been abandoned, and a new way of using the brush has been created on the basis of a wide range of traditional Chinese art essences. Today, the development of figure painting is rich and diverse. Solving the contradiction between realistic modeling and freehand brushwork is still a difficult problem in the development of modern freehand brushwork painting. Lin Fengmian's traditional Chinese figure painting still has important guiding significance for the development of contemporary figure painting.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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