20世纪山水画构图研究

发布时间：2018-05-08 18:15

本文选题：山水画 + 构图　；参考：《陕西师范大学》2013年硕士论文

【摘要】：构图,是我们在自然景物中理出头绪、找出脉络,使画面主题鲜明、内容突出,对有一定美感的自然景物进行加工创造的过程。换言之,构图则是山水画的结构,指画面的空间纬度,是物与物、形与形之间的关系。张大千先生曾经提到过,一张画若没有一个好的构图,那就不可能是一幅完美的画,也不可能让观者产生丰富的联想,更不可能使人有可行、可观、可游、可居之意。可见,构图作为画面的形式语言,对于画面的创作具有非常重要的意义。中国山水画的构图形式多样。传统山水画的构图形式有开合、聚散、虚实、呼应等。这些构图样式诠释了山水画的创作语言,为历代山水画家在创作的过程中提供了依据。山水画的构图经历了几个重要转变,让山水画的发展在每个阶段都展现出自己独有的特色。北宋时期山水画构图展现出宏伟大气的全景式构图；南宋山水画构图展现的则是“马一角,夏半边”式的边角构图；到了元代,山水画的构图则表现为平远式；明清时期,山水画构图更为多样,为20世纪山水画构图的发展奠定了基础。 20世纪山水画构图是在继承传统山水画构图的基础上,寻找到的具有时代气息的道路。山水画构图有其自身的特点：在构图的方式上,表现为从出世到入世、重现自然；在表现特征上,从“胸中丘壑”到“目中丘壑”、画面景“满”并且画面布局“新奇”。山水画大师黄宾虹、傅抱石、张大千、李可染、贾又福等在继承传统的基础上,以自然为师,以生活为源泉,通过意象加工,每个人在构图上都有属于自己的样式。比如黄宾虹抽象化的积墨,将抽象的风格与世界现代艺术相接近；傅抱石的动感情境,他将画面与大自然很好的结合,让观者能够真切的感受到自然的变化；张大千的画面险峻,那伫立的天梯足以让我们为之惊叹；李可染的“似奇反正”,他的构图如同天平的两端一样,看似等价但分量不同：贾又福的构图“结构化”,他用平面构成的方式,将画面进行不同的分割。每个人的构图都有其自身的面貌,足以让观者在画面中找到新鲜的气息。在20世纪山水画的构图中,我们不但看到了中国山水画的构图样式,而且也感受到了山水画构图的文化意蕴。体现在中国山水画的构图是一种形式语言、山水画构图的“情境化”,山水画构图是创作情感的最初体验等。
[Abstract]:Composition is the process of processing and creating natural scenery with distinct theme and prominent content. In other words, composition is the structure of landscape painting, refers to the spatial latitude of the picture, is the relationship between object and object, form and form. Mr Zhang Daqian once mentioned that without a good composition, a painting cannot be a perfect picture, nor can it make the viewer rich in associations, let alone make people viable, observable, swimming, and habitable. Thus, as the formal language of the picture, composition is of great significance to the creation of the picture. The composition of Chinese landscape painting is varied. The traditional landscape painting composition form has the opening and closing, the congregation, the virtual reality, echo and so on. These composition styles annotate the language of landscape painting and provide the basis for the creation of landscape painters in the past dynasties. The composition of landscape painting has undergone several important changes, so that the development of landscape painting has its own unique characteristics in each stage. The composition of landscape painting in the Northern Song Dynasty showed a magnificent panoramic composition; the composition of the landscape painting in the Southern Song Dynasty showed the "horse corner, summer half side" style; by the Yuan Dynasty, the composition of the landscape painting was Pingyuan style; in the Ming and Qing dynasties, the landscape painting composition showed Pingyuan style. Landscape painting composition is more diverse, for the 20 th century landscape painting composition development laid the foundation. Landscape painting composition in the 20th century is based on the inheritance of traditional landscape painting composition, which has the flavor of the times. The composition of landscape painting has its own characteristics: in the way of composition, it shows from birth to entry into the world and reappearance of nature; in the performance, from "the mound in the chest" to "the mound in the eye", the picture scene is "full" and the picture layout is "novel". Master of landscape painting, Huang Binhong, Fu Baoshi, Zhang Daqian, Li Keran, Jia Youfu, etc., on the basis of inheriting tradition, taking nature as the teacher, taking life as the source, and processing images, everyone has his own style in composition. For example, Huang Binhong abstract ink, abstract style and the world's modern art similar; Fu Baoshi's dynamic situation, he will picture and nature a good combination, so that the viewer can really feel the natural changes; Zhang Daqian's images are steep, and the ladder standing there is enough to marvel us; Li Keran's "odd anyway", his composition is like the two ends of the scale, seemingly equivalent but different in weight: the composition of Jia Youfu is "structured." He divided the picture in a flat way. Everyone's composition has its own appearance, enough to let the viewer find fresh breath in the picture. In the composition of landscape painting in the 20th century, we not only saw the composition style of Chinese landscape painting, but also felt the cultural implication of landscape painting composition. It is embodied in that the composition of Chinese landscape painting is a formal language, the "situational" of the composition of landscape painting, and the composition of landscape painting is the initial experience of creative emotion, etc.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】