论当代山水画中从实景写生到主题性创作的转换

发布时间：2018-03-27 20:50

本文选题：实景写生　切入点：主题性　出处：《扬州大学》2013年硕士论文

【摘要】：在古代,山水画的写生和创作之间没有必然的鸿沟,“外师造化,中得心源”既是我们中国传统文化中的“写生”法则,也是山水画创作的准则。古代“写生”注重目识心记方法,即不用面对实物勾勒临写,而是把所见景物默记于心中,经过主观熔铸后再画出来。这和当代对景写生有着极大的不同。当代山水画写生的主要形式有三种,对景写生、速写和默写。我国当代山水大家傅抱石先生写生时大多采用速写的方式,而另一位山水大师黄宾虹先生往往采用默写的写生方式。当代山水画写生和创作之间的关系,相对于古代来说,写生有着较大的独立性,它既为创作收集素材奠定了基础,同时也可以现场面对实景勾画独立成为一件完整意义上的作品。当代山水从建国以来一直注重实景写生,并为主题性创作提供素材、提供思路,在向主题性创作转换的过程中写生起了铺垫和基础作用,这是一个值得关注的现象,也是一个值得探究的问题。众所周知,主题一般是指一幅作品内容有鲜明的中心思想,同时作品中体现出画家自己成熟的艺术风格与面貌。山水画的主题性并不像人物画那么鲜明,但它往往能够表达创作者的情感和审美趣味。画家以“山水”为题材,注入对社会、对生活的思考,带有目的性意义地进行艺术加工,所得到的具有深刻的主题思想的一个创作。那么,从实景写生向主题性创作转换过程中,会存在什么样的问题呢? 在山水画的主题性创作中,如何从实景写生中选取代表性的景物,是一个极其重要的问题。以傅抱石“韶山组画”创作为例,分析他在创作中是如何选景的。傅抱石先生采用了现场速写的写生方式画了很多小稿,从而收集了大量的素材,回来后根据主题和画面的需要,选取实景写生稿中代表性景点再加入主观的想象来创作。再以石鲁“转战陕北"为例,分析人物情境在主题性山水画创作中是如何处理的。结合自己的创作感受,分析自己创作过程中遇到从实景写生到主题性创作转换的问题以及解决问题的办法。
[Abstract]:In ancient times, there was no necessary gap between painting and creation of landscape painting. It is also the criterion of landscape painting creation. In ancient times, "sketching" paid attention to the method of mind recognition, that is, instead of drawing up and writing in the face of physical objects, the ancient "sketches" recorded in their hearts the scenes they had seen. This is very different from contemporary landscape painting. There are three main forms of contemporary landscape painting. Sketch and silent writing. Mr. Fu Baoshi, a contemporary landscape artist in our country, mostly uses sketches when he sketches, while another master of landscape, Huang Binhong, often uses the way of sketching. The relationship between contemporary landscape painting sketches and creation. Compared with the ancient times, sketching has a great independence, it not only lays the foundation for the creation and collection of materials, but also can become a complete work in the face of the scene. Since the founding of the people's Republic of China, the contemporary landscape has always paid attention to the realistic sketch, provided the material for the thematic creation, provided the train of thought, and played the role of laying the groundwork and foundation in the process of the conversion to the thematic creation, which is a phenomenon worthy of attention. It is also a question worth exploring. As we all know, the theme generally refers to a work with a clear central idea, and at the same time reflects the artist's own mature artistic style and appearance. The theme of landscape painting is not as bright as the figure painting. But it can often express the feelings and aesthetic tastes of the creators. The painters, taking "landscape" as the subject matter, inject into the society, think about life, and carry on artistic processing with a purposeful meaning. Then, what kind of problems will exist in the process of transformation from realistic sketch to thematic creation? In the thematic creation of landscape painting, how to select the representative scenery from the realistic painting is an extremely important issue. Taking Fu Baoshi's "Shaoshan Group painting" as an example, Analysis of how he chose the scene in his creation. Mr. Fu Baoshi used the sketch method of the scene to draw a lot of small manuscripts, thus collecting a large amount of material, and when he came back, according to the theme and the needs of the picture, Select representative scenic spots in realistic sketches and add subjective imagination to create them. Then take Shi Lu's "turning to Northern Shaanxi" as an example, analyzes how the character situation is dealt with in the creation of thematic landscape paintings, and combines with his own creative feelings. This paper analyzes the problems from realistic sketch to thematic creation in the process of creation and the solutions to the problems.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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