海上三任人物画探究

发布时间：2018-06-15 19:22

本文选题：海上三任 + 雅俗共赏　；参考：《山东师范大学》2013年硕士论文

【摘要】：海上三任在中国绘画史上具有举足轻重的地位，在绘画领域取得了突出成就，其人物画创作更是为晚清中国人物画走向复兴、走向“现代”，奠定了基本形制且产生了深远的影响。任何艺术的发展都与其相对应的社会政治、经济、文化元素息息相关，在人文与自然、偶然与必然，在可控与不可控等因素中积淀而成。在晚清那个变革、动荡的时代背景下，海上三任人物画创作在立足传统中敢于接受新事物又能着意于新时代创造出新的气韵。他们适时的顺应时代的发展，不断打破桎梏且利用艺术发展自律性与多元化特点，成就了晚清人物画的辉煌。本论文共分四部分：第一部分是绪论，这是本文的起点，主要是简明扼要的叙述海上三任人物画的发展。第二部分为第一章，首先是简述海上三任的师承关系，通过对大量文献资料的整理，对具体绘画作品的比较，梳理出海上三任的师承关系；其次是海上三任人物画时代特色产生的时代背景，包括政治经济因素、移民因素、东西方文化的交流、民间绘画的影响等，这些都为下一章节探究海上三任人物画时代特色做好铺垫。第三部分是第二章，这章主要是通过运用多幅作品比较的方法，，单幅作品分析的方法，深挖参考文献的方法，来进一步解读海上三任人物画鲜明的时代特色。这部分是本论文的重点和难点所在。本章节意在将海上三任人物画的时代特色呈现给大家，为我们在以后创作之路上拓展新的中国人物画“空间”打下良好的基础。第一节、海上三任人物画作品的“社会性回归”。本节通过对海上三任绘画作品的解读阐释：人物画从“正统派”文人画钟情于单纯艺术形式的绘画性到面对现实社会思考的转向。第二节、海上三任人物画“内在重构”与“外在西化”手法综合。中国传统绘画内在生命力的纵向演进与西画东渐外在影响力的横向推进,形成了近代中国美术发展中独特的融合力。第三节、海上三任人物画作品的“商品性”。海上三任艺术活动与商业活动密切的联系。第四节、海上三任由“被动赞助”到“主动迎合”的创作观转变。海上三任与传统文人画家的心态有着截然的不同,其中最大的不同就是画家将艺术（绘画作品）主动看作是一种安身立命与社会直接交换的工具并为之践行。第五节、传统文人雅集到商业中介的转变。晚清绘画作品交流方式的改变,使得海上三任人物画拉开了与传统人物画“客体形态”的距离。最后一部分是结合现当代中国人物画的发展，探讨海上三任人物画成功发展的价值以及海上三任人物画时代特色为当代中国人物画多元发展寻找一个新的切入点，拓宽新的航道。
[Abstract]:In the history of Chinese painting, the three dynasties at sea played an important role in the history of Chinese painting, and made outstanding achievements in the field of painting. Their figure painting creation was even more important for the revival of Chinese figure painting in the late Qing Dynasty and the trend of "modern". Has laid the basic shape and has produced the profound influence. The development of any art is closely related to its corresponding elements of social politics, economy and culture. It is accumulated in the factors of humanities and nature, chance and necessity, controllable and uncontrollable and so on. Under the background of the change and turbulence in the late Qing Dynasty, the creation of three generations of figure paintings at sea dared to accept the new things and create a new spirit in the new era based on tradition. They timely conform to the development of the times, constantly break the shackles and make use of the characteristics of self-discipline and diversity of art to achieve the brilliance of the figure painting in the late Qing Dynasty. This paper is divided into four parts: the first part is the introduction, which is the starting point of this paper, mainly a brief description of the development of the three generations of figures at sea. The second part is the first chapter, the first is a brief description of the relationship between the three masters of the sea, through a large number of literature and materials, the comparison of specific paintings, combing out the relationship between the three masters of the sea; The second is the background of the era characteristics of the three generations of figure painting on the sea, including political and economic factors, immigration factors, cultural exchanges between the East and the West, the influence of folk painting, and so on. These are the next chapter to explore the sea three-generation figure painting era features to do a good job. The third part is the second chapter, this chapter is mainly through the use of the method of comparison of multiple works, the method of single work analysis, the method of deep excavation of reference documents, to further interpret the distinctive characteristics of the sea three generations of figure painting. This part is the focus and difficulty of this paper. The purpose of this chapter is to present the characteristics of the times of the three generations of figure painting at sea to us, and to lay a good foundation for us to expand the space of the new Chinese figure painting in the future. The first section, the "social regression" of the three generations of figures at sea. Through the interpretation of three works of painting at sea: figure painting from "orthodox" literati painting in love with the pure art form of painting to face the reality of social thinking turn. The second section, three generations of marine figure painting "internal reconstruction" and "external westernization" techniques synthesis. The vertical evolution of the inner vitality of Chinese traditional painting and the lateral advancement of the external influence of western painting formed a unique fusion force in the development of modern Chinese art. The third section, the "commodity" of the three generations of figures at sea. The close connection between the three artistic activities at sea and commercial activities. The fourth section, the sea three allow "passive sponsorship" to "active pandering" creative view change. There are diametrically different attitudes between the three generations of literati painters at sea and the traditional literati painters. The biggest difference is that the painters regard art (painting) actively as a tool for the direct exchange of life and society and practice it. The fifth section, the traditional literati elegant collection to the commercial intermediary transformation. The change of communication mode of painting works in the late Qing Dynasty made the three generations of figure painting at sea open the distance from the traditional figure painting "object form". The last part is to explore the value of the successful development of the three generations of Chinese figure painting on the sea and the characteristics of the era of the three generations of figure painting at sea in combination with the development of modern and contemporary Chinese figure painting, and to find a new breakthrough point for the pluralistic development of contemporary Chinese figure painting. Widen the new channel.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212

【参考文献】