浅析梁楷《泼墨仙人图》的“意象造型”来源和社会根源兼论中国水墨的当下性思考

发布时间：2018-06-26 12:14

本文选题：意象 + 水墨　；参考：《西安美术学院》2014年硕士论文

【摘要】：总观中国人物画的发展历程，数千年以来，在中国传统审美观及造型观的基础上建立并形成了意象审美的人物画艺术形式。“意象”是中国艺术特有的审美意识，中国人物画以它独特的表现性和审美性在世界美术史上占据着一定的地位。人物画发展到宋代，出现了很大的转折和发展，梁楷不拘一格的艺术表现力，在中国美术史上前所未有。两宋时期的艺术是中国艺术百花齐放、百家争鸣的一个时期，在山水画、花鸟画、人物画、道释画等方面都有很大的发展且达到了很高的水准。人物画以南宋梁楷的出现为转折，在中国美术发展史上，能够创作个性极强的泼墨人物画，具有极强的表现力，且能达到独特的“意象”艺术效果，梁楷是一个典型的代表，他是中国写意人物画发展的里程碑。在《泼墨仙人图》中梁楷以夸张的人物造型，恰到好处的表达仙人酣醉的精神气质和性格特点，五官夸张变形，人物造型滑稽可爱，以古拙的造型，奔逸的笔墨，表现的恰到好处，极其到位。极具想象力的人物造型，来传达仙人憨态可掬的精神面貌和人物气质，，充分表现出中国画“画中有诗”、“不似之似”、“骨法用笔”、“水墨为上”、“置陈布势”的中国画传统精神。《泼墨仙人图》图式的形成也是梁楷画风最有说服力的作品之一。他通过《泼墨仙人图》人物画造型，挖掘出中国人物画造型的真谛。充分利用了中国画意象性的审美意识，在宋代这个多变的社会环境下、繁荣深厚的文化背景下、在中国深远文化的滋养下，梁楷必然是这一时期产生的一位伟大的艺术家。中国人物画的精髓也必然在《泼墨仙人图》中淋漓尽致的体现出来，这也是中华民族伟大而深厚的历史文化、哲学思想、美学思想的有力再现。本文主要以传统人物画对“意象”的追求与探索为主线，浅显的粗谈一下关于“意象”造型在中国人物画或者说在中国艺术发展中的意义和作用。结合《泼墨仙人图》的表现手法，简略的阐述“意象”造型在中国人物画表现中的重要性。发扬中国画传统“意象”造型精神，巩固中国画在世界艺术史上的地位和艺术价值，我们必然要追根问底，“意象”造型观贯穿于中国画发展的脉络之中。“意象”这一概念的提出，在中国已有一千多年的历史了。“意象”性自古以来在中国人物画表现上的运用和重要性在理论著作中都有阐释，都以不同的立场、不同的角度、不同的审美、不同的情感、谈到中国人物画的“意象”性。千百年来的发展衍化，其内涵也大大外延了，这足见其生命力之强大旺盛。现在，该是我们认真研究怎么继承、发展、并给中国画赋予新的内涵的时候了。
[Abstract]:The development course of Chinese figure painting has been established for thousands of years. On the basis of traditional Chinese aesthetic and modeling view, the figure painting art form has been established and formed. "Image" is the unique aesthetic consciousness of Chinese art. Chinese figure painting occupies a certain place in the world art history with its unique expressiveness and aesthetics. In the Song Dynasty, there was a great turning point and development. Liang Kai's artistic expressiveness was unprecedented in the history of Chinese art. The art of the two Song Dynasty is a period of great development in landscape painting, flower and bird painting, figure painting, Taoist painting and so on. High level. The figure painting is a turning point in the appearance of Liang Kai in the Southern Song Dynasty. In the history of Chinese art development, he can create a very strong character painting of splash ink. It has a very strong expressive force and can achieve the unique artistic effect of "image". Liang Kai is a typical representative. He is a milestone in the development of Chinese freehand figure painting.
In the "picture of the splash immortals" in the form of exaggerated characters, it is right to express the spirit and character of the immortals, the exaggeration of the five senses, the funny and lovable characters of the characters, the ungumbent modelling, the run of the brush and the ink, the exact expression of the characters, and the spirit of the fairy to convey the spirit of the fairy. The appearance and the character temperament fully show the Chinese painting "painting in poetry", "not like it", "bone law with pen", "ink ink for the upper", "put Chen cloth" in traditional Chinese painting spirit. The formation of "splash immortals Map > schema" is one of the most convincing works of Liang Kai's painting style. The essence of the shape of Chinese figure painting has made full use of the aesthetic consciousness of the image of Chinese painting. Under the prosperous and prosperous cultural background of the Song Dynasty, under the nourishment of China's profound culture, Liang Kai must be a great artist in this period. The essence of Chinese figure painting is also inevitable in the painting of the Chinese painting. This is also a powerful representation of the Chinese nation's great and profound history, culture, philosophy and aesthetics.
This article mainly focuses on the pursuit and exploration of "image" by traditional figure painting, and talks about the significance and function of "image" in Chinese figure painting or in the development of Chinese art.
To carry forward the spirit of "image" in traditional Chinese painting and to consolidate the position and artistic value of Chinese painting in the history of world art, we must ask the bottom of the bottom that "image" is in the context of the development of Chinese painting. The concept of "image" has been put forward in China for more than one thousand years. The application and importance of the performance of Chinese figure painting have been explained in the theoretical works, with different positions, different angles, different aesthetical and different emotions, and the "image" of Chinese figure painting. The development and evolution of the Chinese figure painting has been greatly extended in the past thousands of years. It is full of strong vitality. Now, it is me It is time for us to seriously study how to inherit and develop and give new meaning to Chinese paintings.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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