从1840年代的历史题材作品谈历史画创作的问题

发布时间：2018-05-23 13:54

本文选题：历史 + 历史画　；参考：《鲁迅美术学院》2013年硕士论文

【摘要】：本文探讨历史画创作中的图解化问题。通过阐述作品，比较，例举等方法进行论述。本文论述了历史在人类文明中的作用，它给我们比自身更有价值、更久远的认知和鼓舞我们精神的强大力量。历史画是以历史为依据的创作形式，，不但给人们提供善的启示，还给观众以审美的享受。中国古人说“图绘者莫不明劝诫，著升沉，千载寂寥，披图可鉴”。历史画的真实性必须通过具体可感的形象表达出来，并注重对历史自身的关注，对精神性的思考。优秀的历史画作品无不具有生动活泼的形象和深刻地内涵而给人留下深刻的印象。“千人一面”的作品是不会产生感染力的。当代，与我国消费文化的出现、发展、有关，历史画出现虚假的繁荣。在这里，历史被作为消费的对象供大众进行消费，仅仅是为了满足消费者对一些历史知识的猎奇心理或是借题发挥与历史没有关系的“历史”。在这种观念下，历史画的创作中出现图解化、公式化、概念化的不良倾向，历史本体和所给予的精神力量被剔除，历史画的价值的判断标准被篡改。将历史等同于题材，题材等同于知识，知识等同于艺术的情况大量存在，普遍缺少历史感。这种回避在历史与艺术之间艰难的行走，其实质是回避了历史画的存在理由与远大使命。感性的高喊口号，作品却平平，体现不出精神层面的追求传统，无法承载人们的审美理想，暴露其局限和弊端。历史感是艺术家对历史与艺术的独特感悟。通过对历史的考察和美的剖析，艺术家主观的使历史与艺术相互产生联系，通过自身的把握并将此种感受移情到具体的艺术创作过程中，并最终凝结在作品里，才能使历史画带上深刻的历史感。所以，在历史画的创作中应该尽量的避免概念化、公式化、图解化的不良倾向，尊重历史本体和所给予的精神力量。因此在今天，历史画的创作仍然保留着集体慰藉的广泛认同感。对国家，民族：对崇高，信仰，其价值远远没有耗尽。
[Abstract]:This paper probes into the problem of illustration in the creation of historical paintings. Through the elaboration of works, comparison, examples and other methods to discuss. This paper discusses the role of history in human civilization, which gives us more value, longer cognition and stronger power to inspire our spirit than ourselves. Historical painting is a form of creation based on history, which not only provides people with good enlightenment, but also gives aesthetic enjoyment to the audience. The ancient Chinese said, "painting not unknown exhortations, rising, thousands of lonely, draw pictures to learn." The authenticity of historical paintings must be expressed through concrete and perceptible images, and pay attention to history itself and spiritual thinking. Excellent historical paintings have vivid images and profound connotations. The work of "one side of a thousand" is not contagious. Contemporary, with our country consumer culture appearance, development, related, history painting appears false prosperity. Here, history is used as the object of consumption for the public to consume, only to satisfy the consumer's curiosity about some historical knowledge or to exploit the "history" which has nothing to do with history. Under this kind of concept, the creation of historical painting has the bad tendency of illustration, formulation and conceptualization, the historical ontology and the spiritual power given by it are eliminated, and the judgment standard of the value of historical painting is tampered with. History is equated with subject matter, subject matter is equated with knowledge, knowledge is equated with art, and there is a general lack of sense of history. The essence of this kind of avoidance between history and art is to avoid the reason and mission of history painting. Perceptual chanting slogans, but the works are flat, can not reflect the spiritual level of the pursuit of tradition, can not bear the aesthetic ideals of people, exposed its limitations and shortcomings. The sense of history is the artist's unique perception of history and art. Through the investigation of history and the analysis of beauty, the artist subjectively makes history and art interact with each other, and through their own grasp and empathy to the specific process of artistic creation, and finally condensed in the works, In order to make the historical painting with a deep sense of history. Therefore, in the creation of historical paintings should try to avoid conceptualization, formulaic, graphical negative tendency, respect for historical ontology and the spiritual power given. So today, the creation of historical paintings still retains a broad sense of collective comfort. To the nation: to the sublime, the faith, its value is far from exhausted.
【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】：J205

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