浅谈中国人物画背景与人物的关系
发布时间：2018-07-25 19:23
【摘要】：中国人物画是伴随着人类社会文化共同发展的，早期的人类对生命的看重高于一切，对身边的环境还缺乏认知，而绘画在很长时间内也多是反映的人类自身，画面中的“背景”都是以简单的装饰图案出现的。本文基于充分肯定了“背景”在中国人物画作用的基础上，总结和分析了传统与现代人物画中人物与背景的处理特点，，并从宗教，哲学，政治，军事，经济等各方面深层剖析了这些特点的形成。例如，五代两宋时期是中国历史上少数几个高度重视绘画的时代之一，期间各种题材的绘画都有一定的发展，人物画也达到了人与背景的完美融合。宋代画风精细严谨，既工致写实又不失意趣，丰富了人物与背景的表现特色；明清人物画是五代两宋绘画的延续，更加强调主观情感的表达方式。画面中背景通过巧妙的布白和落款表达主观情感的意趣风格，逐渐形成了自己民族绘画的语言特点。到了现代人物画中的“背景”已经符号化、图式化，变成画面语言的一部分。 在本文中，传统与现代人物画中“背景”的处理形成对比，传统中国人物画中通过人物与背景的处理来描述出不同时间、不同场面的人和景物构成分段式的画面,但又不失统一而整体的画面,形成画面散点透视的特征。现代人物画人与背景的处理特点一反传统中的留空白习惯,追求画面的饱满充实,对人物与背景进行解构、叠压、重组等方式,加强画面的对比效果,产生新的秩序感。由此，画家也注重融合传统与现代合理因素的基础上寻求创新，并在实践中寻求创作源泉。在比较的同时，有相似之处就有差异之处，即传统人物画家深受传统哲学思想影响，更加强调画面背景的意境表达。本文最后总结了人物画中人物和背景融洽的关系，具体表现在四个方面：第一，既然人物画在传统与现代中都出现过优秀的艺术作品,无可质疑就要遵从人物与背景关系的发展规律,否则就失去了人物画的真谛;第二，要情理交融，寄情于景，画家有自己的情感体验，通过人物和背景的处理传递出自己的感情和意图；第三，注重中国传统文化，画家更多地了解中国的传统文化，体会传统人物画的神韵，这可能会使现代人物画有更大的成就；第四，必须重视笔墨的运用，背景所呈现的笔墨、色彩、形象等体现出来的艺术气息对画面感也起到了不可忽视的作用。
[Abstract]:Chinese figure painting is accompanied by the common development of human society and culture, the early human value of life above all, the environment around the lack of cognition, and painting in a long time is also a reflection of human beings themselves. The background in the picture is a simple decorative pattern. On the basis of fully affirming the role of "background" in Chinese figure painting, this paper summarizes and analyzes the processing characteristics of characters and background in traditional and modern figure painting, and from the perspective of religion, philosophy, politics, military affairs, Economic and other aspects of the deep analysis of these characteristics of the formation. For example, the period of five dynasties and two Song dynasties is one of the few times in Chinese history that attaches great importance to painting. During this period, painting of various subjects has developed to a certain extent, and figure painting has also reached the perfect fusion of people and background. The painting style of the Song Dynasty is fine and rigorous, which not only makes the painting realistic and interesting, but also enriches the performance characteristics of the characters and the background; the figure painting of the Ming and Qing dynasties is a continuation of the paintings of the five dynasties and the Song Dynasty, and emphasizes the expression of subjective emotion. The background has gradually formed the linguistic characteristics of its own national painting through its clever style of expressing subjective feelings. By the time the background in modern figure painting has been symbolized and schematized, it has become part of the picture language. In this paper, the treatment of "background" in traditional and modern figure painting forms a contrast. In traditional Chinese figure painting, people and scenery of different time and different scenes are described by the processing of characters and background to form a segmented picture. But without losing the unity and the overall picture, forming the characteristics of the perspective of the picture scattered point. The processing characteristic of modern figure painting is to reverse the habit of leaving blank in the tradition, to pursue the fullness and fullness of the picture, to deconstruct, superpress and reorganize the characters and the background, to strengthen the contrast effect of the picture, and to produce a new sense of order. Therefore, painters also pay attention to the combination of traditional and modern reasonable factors to seek innovation, and seek creative source in practice. At the same time, there are similarities and differences, that is, the traditional figure painter is deeply influenced by the traditional philosophy, and emphasizes the artistic conception expression of the picture background. In the end, the author summarizes the harmonious relationship between the characters and the background in the figure painting, which is embodied in four aspects: first, since the figure painting has appeared excellent works of art in both traditional and modern times, Without doubt, we must abide by the laws of the development of the relationship between the characters and the background, or else we will lose the true meaning of the figure painting. Second, if we want to have a mixture of reason and reason, and send our feelings to the scene, the painter will have his own emotional experience. Third, pay attention to the Chinese traditional culture, the painters know more about the traditional Chinese culture, understand the charm of the traditional figure painting, this may make the modern figure painting have more achievements; Fourth, we must pay attention to the use of ink and brush, the background of ink, color, image and other reflected by the artistic atmosphere of the picture also played a role that can not be ignored.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2144825
[Abstract]:Chinese figure painting is accompanied by the common development of human society and culture, the early human value of life above all, the environment around the lack of cognition, and painting in a long time is also a reflection of human beings themselves. The background in the picture is a simple decorative pattern. On the basis of fully affirming the role of "background" in Chinese figure painting, this paper summarizes and analyzes the processing characteristics of characters and background in traditional and modern figure painting, and from the perspective of religion, philosophy, politics, military affairs, Economic and other aspects of the deep analysis of these characteristics of the formation. For example, the period of five dynasties and two Song dynasties is one of the few times in Chinese history that attaches great importance to painting. During this period, painting of various subjects has developed to a certain extent, and figure painting has also reached the perfect fusion of people and background. The painting style of the Song Dynasty is fine and rigorous, which not only makes the painting realistic and interesting, but also enriches the performance characteristics of the characters and the background; the figure painting of the Ming and Qing dynasties is a continuation of the paintings of the five dynasties and the Song Dynasty, and emphasizes the expression of subjective emotion. The background has gradually formed the linguistic characteristics of its own national painting through its clever style of expressing subjective feelings. By the time the background in modern figure painting has been symbolized and schematized, it has become part of the picture language. In this paper, the treatment of "background" in traditional and modern figure painting forms a contrast. In traditional Chinese figure painting, people and scenery of different time and different scenes are described by the processing of characters and background to form a segmented picture. But without losing the unity and the overall picture, forming the characteristics of the perspective of the picture scattered point. The processing characteristic of modern figure painting is to reverse the habit of leaving blank in the tradition, to pursue the fullness and fullness of the picture, to deconstruct, superpress and reorganize the characters and the background, to strengthen the contrast effect of the picture, and to produce a new sense of order. Therefore, painters also pay attention to the combination of traditional and modern reasonable factors to seek innovation, and seek creative source in practice. At the same time, there are similarities and differences, that is, the traditional figure painter is deeply influenced by the traditional philosophy, and emphasizes the artistic conception expression of the picture background. In the end, the author summarizes the harmonious relationship between the characters and the background in the figure painting, which is embodied in four aspects: first, since the figure painting has appeared excellent works of art in both traditional and modern times, Without doubt, we must abide by the laws of the development of the relationship between the characters and the background, or else we will lose the true meaning of the figure painting. Second, if we want to have a mixture of reason and reason, and send our feelings to the scene, the painter will have his own emotional experience. Third, pay attention to the Chinese traditional culture, the painters know more about the traditional Chinese culture, understand the charm of the traditional figure painting, this may make the modern figure painting have more achievements; Fourth, we must pay attention to the use of ink and brush, the background of ink, color, image and other reflected by the artistic atmosphere of the picture also played a role that can not be ignored.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
【参考文献】
相关期刊论文 前1条
1 徐悲鸿;中国画改良论[J];艺术探索;1999年02期
本文编号：2144825
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