东北地区当代中国人物画创作风格地域性特征浅析

发布时间：2018-03-03 22:00

本文选题：地域性　切入点：审美意识　出处：《首都师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：从整个中国绘画发展的历史角度来看,地域性绘画差异是始终贯穿在中国绘画脉络中的,无论是山水画、还是人物画或花鸟画从历代所留下的传世佳作中都可以分别从题材倾向、造型手段、表现语言上了解到地域差异下所具有的东方情感的民族文化精髓。站在地域文化差异的视角上审视中国绘画发展的内在特征,地域性对中国绘画面貌的形成的影响也是由来已久,在中国画史的研究过程中国画的地域性研究一直有着重要的位置,地域差异也是艺术家创作的精神源泉之一,艺术家在他们的作品中自觉不自觉地表现出地域性的要素。在中国人物画创作的过程中,一个时代有一个时代的发展轨迹,同一时代又有地域性的区别。地域性及其文化氛围深刻影响着画家及其作品中的审美取向和风格追求。中国人物画其风格形成也偏重于画家个人的气质,这也与其厚实的生活沉淀以及一定的地域环境有关,是画家在积累真实生活感悟的基础上寻找到的新艺术表现形式。本文中提及的东北地区中国画创作语言及其表现形式,是在白山黑水的北方环境下,近代绘画家集体流露出的北方人们的情感世界与审美追求,是独特的自然环境的侵染和特有的人文传统的滋养下的面貌。这种群体特征中不乏个体的另类独特与多样,但较之南方温润的自然环境、委婉的人文性格特征依然显出北方特有的凛冽与悲亢。建国以来东北中国画的发展虽有注重写实,重大叙事的偏重,但在画面的艺术语言的表现上不得不说是独树一帜的。这种在艺术语言上体现出的创造性是绘画艺术的真正果实。在当下中国画的观念转变和如何增强综合材料的应用表现力上看地域性文化下产生的绘画语言特征是值得我们争论和研究的课题。本文最后提出个人对东北地区中国人物画艺术面貌的体会和认识,如果太局限“自我”状态,民族艺术必然将走入狭小的境地。但认识到自我的民族性,地域性,才可谈你的世界性。作为现当代的艺术院校学生,应该站在传统文化与此刻所处的多元化环境中去观察和认识当下。地域性差异下的绘画面貌不仅是中国画形式语言的美感体现,也是中国画所具有的人文精神的载体,对我们年青一代认识本土文化和艺术具有极其重要的价值与存在意义。
[Abstract]:From the historical point of view of the development of Chinese painting, regional painting differences are always running through the context of Chinese painting, whether landscape painting, Or figure painting or flower-and-bird painting from the past dynasties left behind in the best works can be from the theme of the trend, modeling means, From the perspective of regional cultural differences, the author examines the internal characteristics of the development of Chinese painting. The influence of regionalism on the appearance of Chinese painting has a long history. In the research process of Chinese painting history, the regional study of Chinese painting has always played an important role, and regional differences are also one of the spiritual sources of artists' creation. Artists consciously and unconsciously express regional elements in their works. In the process of Chinese figure painting creation, an era has the development track of an era. At the same time, there are regional differences. The regional nature and its cultural atmosphere deeply influence the aesthetic orientation and style pursuit in the painters and their works. The formation of the style of Chinese figure painting also emphasizes the individual temperament of the painters. This is also related to its thick life precipitation and a certain regional environment, which is a new artistic expression form which the painters seek on the basis of the accumulation of real life perception. The language of Chinese painting in Northeast China and its forms of expression mentioned in this paper are the emotional world and aesthetic pursuit of people in the north, which were revealed by modern painters in the environment of white mountains and black waters. It is a unique natural environment and a unique humanistic tradition under the nourishment of the face. This group of characteristics not lack of individual alternative unique and diverse, but compared to the southern gentle natural environment, The euphemistic characteristics of human character still show the briskness and sadness peculiar to the north. Although the development of Chinese painting in Northeast China since the founding of the people's Republic of China has paid attention to realism, the important narration is biased. However, it has to be said to be unique in the expression of the artistic language of the picture. The creativity embodied in the artistic language is the true fruit of the art of painting. At present, the concept of Chinese painting has changed and how to strengthen the comprehensive materials. From the point of view of regional culture, the characteristics of painting language are worthy of discussion and study. At the end of this paper, the author puts forward the personal experience and understanding of the Chinese figure painting art in Northeast China. If the state of "self" is too limited, the national art will inevitably go into a narrow situation. To talk about your cosmopolitan. As a contemporary art college student, Should stand in the traditional culture and the pluralistic environment of the moment to observe and understand the present. The face of painting under regional differences is not only the aesthetic embodiment of the formal language of Chinese painting, but also the carrier of the humanistic spirit of Chinese painting. It is of great value and significance for our younger generation to understand native culture and art.
【学位授予单位】：首都师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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