当代工笔人物画中写意精神的表达

发布时间：2018-05-30 02:45

本文选题：写意精神 + 工笔人物画　；参考：《中国艺术研究院》2013年博士论文

【摘要】：当代工笔人物画的嬗变,不仅源于绘画主体在剧变的世界艺术格局中无法回避的顺应行为,同时也是传统绘画范式在当代语境下的自我调整和重新定位。中国绘画中的精神取向也面临着在限制中演进的历史命运。本文采取文献研究、图像学分析与艺术社会学的方法,通过对传统工笔人物画中“写意精神”的分析梳理,发现当代工笔人物画纷繁复杂背后的发展脉络及当代工笔人物画中“写意精神”的呈现,由此寻找出当代工笔人物画“写意精神”的限制和拓展。由此,本文以三个方面展开阐述：第一,通过工笔画概念的嬗变寻找以民族文化畛域为思维基点的限制,进而寻找“写意精神”在工笔人物画中的古典形态里的规约功能,同时溢出工笔人物画的“写意性”概念。通过对在古典时期“写意”与“形”、“神”、“韵”、“象”的关系阐述,寻找写意精神在传统文脉中的共通性,由此深入到工笔人物画本体之中。通过理顺写意性在创作主体、立意观、构图、造型观、色彩观等绘画实践过程中的图像呈现,进而分析形上和形下的统一性。古典工笔人物画中的写意性来源于传统文化中的儒道释三元合流,工笔人物画作为延绵时间最长的中国绘画品类表现为一个相对封闭的审美系统,但更重要的是一个文化内涵和艺术形式的连续体,在不断地演进之路上体现出动态性。第二,当代工笔人物画的发展是建立在整个中国文化现代进程之上的,中国画的现代转型不完全是基于内部力量中的现代性累积,而是肇始于异质文化的现代性介入。在其复杂的背景当中,通过对文化变迁中的体格流变,中西碰撞中现代性的问题域,以及繁荣背后的隐忧等多个方面展开探讨。由此溢出“写意精神”在当代工笔画的发展中,是能够将传统精神纳入新的框架并得以挖掘其潜力所在。第三,通过中国画本质在当代工笔人物画中的体现、传统和现代的对立与契合、工笔人物画语言的拓展以及案例分析来展开当代工笔人物画“写意”表征的探讨。当代工笔人物画的发展是建立在摆脱泛政治化倾向,用平等而客观的理念对待传统和现代、东方和西方的基础之上的。表现为通过分析工笔人物画中“写意精神”的动态性和包容性,避免传统主义在绘画实践中的动机与效果的偏差,也可防止激进主义的破坏和断裂。本文最后指出,工笔人物画在当代的嬗变是各异多元的。在写意性上,一方面表现为对传统工笔人物画自由地汲取,另一方面也表现为对其他画种有节制地融合,目的是在传统与现代的对立胶着状态中寻找建构的可能方式。在当代工笔画的写意性研究上,限制是不会放弃本体的自我确认,拓展是在洋溢着创造契机的张力场中不断汲取新的生命源泉。
[Abstract]:The evolution of contemporary meticulous figure painting is not only due to the subject of painting in the dramatic changes in the world art pattern can not avoid the behavior of compliance, but also the traditional painting paradigm in the contemporary context of self-adjustment and re-positioning. The spiritual orientation in Chinese painting is also facing the historical fate of evolution in the limitation. This paper adopts the methods of literature research, graphic analysis and art sociology, and combs through the analysis of the "freehand brushwork spirit" in the traditional meticulous figure painting. This paper finds out the development background of the complicated and complicated contemporary meticulous figure painting and the presentation of the "freehand brushwork spirit" in the contemporary meticulous figure painting, thus finding out the limitation and expansion of the "freehand brushwork spirit" of the contemporary fine brushwork figure painting. Therefore, this paper expounds in three aspects: first, through the evolution of the concept of fine brushwork to find the limit of the national cultural domain as the basic point of thinking, and then to find the "freehand brushwork spirit" in the classical form of fine brushwork figure painting, and then to find out the statutory function of "freehand brushwork spirit" in the classical form of meticulous figure painting. At the same time overflow fine figure painting "freehand brushwork" concept. By expounding the relationship between freehand brushwork and form, god, rhyme and image in the classical period, this paper seeks for the commonality of freehand brushwork spirit in the traditional context, which goes deep into the Noumenon of figure painting of meticulous brushwork. Through straightening out the image presentation of freehand brushwork in the process of painting practice, such as creative subject, idea view, composition view, modeling view, color view and so on, the unity of form and form is analyzed. The freehand brushwork in the classical fine brushwork figure painting comes from the combination of Confucianism, Taoism and interpretation in the traditional culture. As the longest extension of Chinese painting, the meticulous figure painting shows a relatively closed aesthetic system. But what is more important is a continuum of cultural connotation and artistic form, which is dynamic on the way of continuous evolution. Second, the development of contemporary meticulous figure painting is based on the modern process of the whole Chinese culture. The modern transformation of Chinese painting is not entirely based on the accumulation of modernity in the internal forces, but originated from the intervention of the modernity of heterogeneous culture. In its complex background, through the cultural changes in the physical changes, the collision between the Chinese and Western modernity of the problem area, as well as prosperity behind the hidden worries and other aspects of the discussion. Therefore, the "freehand brushwork spirit" can be incorporated into the new frame and its potential can be exploited in the development of contemporary meticulous brushwork. Thirdly, through the embodiment of the essence of Chinese painting in the contemporary meticulous figure painting, the opposition and agreement between tradition and modern, the development of the language of meticulous figure painting and the case analysis, the discussion on the representation of "freehand brushwork" of contemporary meticulous figure painting is carried out. The development of contemporary meticulous figure painting is based on getting rid of the tendency of pan-politicization and treating tradition and modern, eastern and western with the concept of equality and objectivity. Through analyzing the dynamic and inclusive nature of the "freehand brushwork spirit" in the meticulous figure painting, it can avoid the deviation between the motive and the effect of the traditionalism in the painting practice, and can also prevent the destruction and rupture of the radicalism. Finally, this paper points out that the evolution of meticulous figure painting in contemporary times is different and diverse. In freehand brushwork, on the one hand, it can be expressed as the free absorption of the traditional meticulous figure painting, on the other hand, it can also be expressed as the restrained fusion of other painting types, in order to find the possible way of construction in the state of opposites between tradition and modern. In the study of freehand brushwork, the limitation is not to give up the self-confirmation of ontology, and to expand is to constantly absorb new life source in the tension field filled with the opportunity of creation.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J212

【相似文献】