从徐悲鸿的绘画造型谈中国人物画的笔墨观

发布时间：2018-05-20 18:34

本文选题：笔墨 + 造型　；参考：《鲁迅美术学院》2013年硕士论文

【摘要】：长期以来，传统的国画人物的造型观念一直深深影响着中国绘画，传统绘画重笔墨而轻视造型导致了人物画的衰微。明清时期更是因循守旧，整日沉迷于古画临摹，而脱离现实。徐悲鸿看到了这种弊端，提出了引进西方造型来改良中国画的主张，并对西方写实方法身体力行的推广。改变了中国人物画的因循守旧的积习，给人物画发展带来了巨大变化。本文通过对徐悲鸿绘画作品的造型来谈中国人物画笔墨与造型的关系。研究通过大量翻阅资料，，提出观点，希望对当代水墨人物画的研究有所帮助。首先，第一章，对中国传统国画的造型进行简介。中国传统国画的造型主要是以线造型为主，有平面化的特点，并采用了中国的散点透视为主的造型方法。之后，徐悲鸿是怎样看待中国画的，以及他的观点是，他认为传统国画重视笔墨而轻视造型和内容，因此带来了弊端。第二章，提出了西方人物画的造型观和徐悲鸿对西方造型的引进，以及他在《中国画改良论》中提出中国人物画的的程式化方式出现的弊端。第三章，徐悲鸿的国画与传统国画的差异和徐悲鸿作品给我们的启示。用以来说明徐悲鸿作品中有主题性，主题是个要表达的内容，而传统笔墨则是一种趣味。徐悲鸿的改良中国画以造型，内容为前提带给中国画坛的影响是巨大的。出现了一批新的中国人物画样式。第四章，研究徐悲鸿的目的是，绘画是个内容，通过以内容为前提的写生人物画的笔墨造型才能使人物画继续走下去。
[Abstract]:For a long time, the traditional Chinese painting personage modelling idea has been deeply influenced the Chinese painting, the traditional painting heavy pen and ink but despises the modelling has led to the figure painting decline. Ming and Qing dynasties are more conformist, the whole day indulged in ancient painting copying, and divorced from reality. Xu Beihong sees this kind of malpractice, put forward the idea of introducing western styling to improve Chinese painting, and popularizes western realistic method. Changed the traditional Chinese figure painting habits, to the development of figure painting brought great changes. This paper discusses the relationship between Chinese figure painting and modeling through the modeling of Xu Beihong painting works. Through reading a large number of materials, the study put forward the point of view, hoping to help the study of contemporary ink figure painting. First, the first chapter, the shape of Chinese traditional Chinese painting is briefly introduced. The traditional Chinese painting is mainly based on line modeling, with the characteristics of flatness, and adopts the Chinese scattered point perspective as the main modeling method. Later, how did Xu Beihong view Chinese painting, and his view was that traditional Chinese painting attached importance to style and content, and thus brought abuse. In the second chapter, the author puts forward the modeling view of the western figure painting and the introduction of Xu Beihong to the western style, and puts forward the malpractice of the stylized way of the Chinese figure painting in his "improvement of Chinese painting". The third chapter, the difference between Xu Beihong's traditional Chinese painting and the enlightenment of Xu Beihong's works. Used to illustrate the theme of Xu Beihong's work, the theme is to be expressed, while the traditional pen and ink is a kind of interest. Xu Beihong's improved Chinese painting has a great influence on the Chinese painting world on the premise of modeling and content. A new batch of Chinese figure painting styles appeared. In the fourth chapter, the purpose of the study of Xu Beihong is that painting is a content.
【学位授予单位】：鲁迅美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

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