现当代广西少数民族题材人物画作品研究
发布时间：2018-07-26 17:16
【摘要】：广西身处百越之地,少数民族族群数量丰富,故有“百越之地”的美称。时至今日,广西境内的部分山区还保留传统的文化习俗与信仰,他们深厚独特的文化内涵体现在当地的舞蹈、服饰、建筑、生活等各个方面,呈现淳朴自然的民族异域风貌成为画者们争先表现的创作对象。广西少数民族聚集地区吸引来自全国各地的画者前往创作写生,产生了许多广西少数民族题材的人物画优秀作品,从一定角度呈现出广西地区多姿多彩的风土人情面貌,同时对民族题材的创作也推动了广西人物画的发展。 在历史的长河,表现少数民族风土人情的人物画多伴随以政治为目的的画作,且民族选材上多以当时已经形成鲜明民族特色的北方少数民族为主。新中国成立前的广西政治混乱,经济萧条,社会处在一片混沌之中,新中国成立后,中共中央肃清剿匪,为广西人物画发展开辟了一条道路,以广西少数民族为题材的人物画作品逐渐发展起来。本文分为四个章节对广西民族题材人物画进行分析。第一章分为两个部分,第一部分讲述新中国成立后广西少数民族题材的人物画发展以及现状,通过对相关资料的采集,具体分析了发展过程中具有里程碑意义的几个阶段,以及每一阶段相对应的全国社会背景。第二部分结合对广西人物画发展阶段特点分析蕴含在作品中的广西文化特点,重点阐述广西地域文化特征对广西人物画作品的影响,是研究过程中不可或缺的内涵,具有重要的意义。第二章讲述广西少数民族题材类型,分为两个部分。第一部分是广西人物画题材可采集的创作资源,归纳总结得出广西区域内可采集资源特点并进行分类,使得第二部分创作类型特点清晰明了,对于大量的作品分析也能有一定的认识。第二部分与第三部分作为文章的重要章节,列举了数量丰富的相关作品,主要从内容分析与主题思想相互交错分析展示作品特色,围绕广西少数民族题材展开说明,结合作品内容的文化背景立体展示作品的视觉效果。第三章通过讲述三种表现手法的发展背景与特点,结合第二部分作品内容分析作品的表现手法,为实践创作提供指导方向。第四章也是文章的最后一部分作为研究成果对笔者创作实践的影响,在研究过程中对主题思想的感受,对表现技法的借鉴还有笔者自身的实践考察都是创作的重要组成部分,讲述从初期学习人物画到后期的独立创作实践,都怀抱对广西民族风情的热爱与对当地民族传统的崇敬。笔者从中领悟并实践于自身的创作,希望能在广西民族人物画作品研究中越走越深,获得更深层次的认识与理解,在理论与实践的结合中构建具有自身特色的艺术语言体系,为更好表现广西民族风貌,推动民族题材人物画作品贡献自身微薄之力。
[Abstract]:Guangxi is located in the Baiyue area, the number of ethnic minorities is rich, so there is a "Baiyue Land" laudatory name. To this day, some mountain areas in Guangxi still retain traditional cultural customs and beliefs. Their profound and unique cultural connotations are embodied in various aspects of local dance, clothing, architecture, life, and so on. Presenting simple and natural exotic national features has become the creative object of the painters. The gathering areas of ethnic minorities in Guangxi attract painters from all over the country to create sketches, which have produced many excellent works of figure painting on the subject of Guangxi ethnic minorities, showing a variety of local customs and customs in Guangxi from a certain point of view. At the same time, the creation of national themes also promoted the development of Guangxi figure painting. In the long river of history, the figure painting that expresses the customs and customs of the minority nationalities is accompanied by the painting for the purpose of politics, and the ethnic selection is dominated by the ethnic minorities in the north who have formed the distinctive national characteristics at that time. Before the founding of New China, Guangxi was in political chaos, its economy was depressed, and society was in a state of chaos. After the founding of New China, the CPC Central Committee eliminated bandits and opened a way for the development of Guangxi's figure painting. The figure painting works of Guangxi ethnic minorities gradually developed. This article divides into four chapters to carry on the analysis to the Guangxi nationality theme figure painting. The first chapter is divided into two parts. The first part describes the development and current situation of figure painting of Guangxi minority theme after the founding of New China. Through the collection of relevant data, it analyzes the milestone stages in the process of development. And each stage corresponds to the national social background. In the second part, the author analyzes the cultural characteristics of Guangxi figure painting in the development stage of Guangxi figure painting. The emphasis is on the influence of Guangxi regional culture on the figure painting works of Guangxi, which is an indispensable connotation in the research process. It is of great significance. The second chapter describes the types of Guangxi minority theme, which is divided into two parts. The first part is the creation resources of Guangxi figure painting subject matter which can be collected, summarized and summarized the characteristics and classification of the collection resources in Guangxi region, making the second part of the creation type characteristics clear and clear. For a large number of works of analysis can also have a certain understanding. The second part and the third part, as important chapters of the article, enumerate a large number of related works, mainly from the content analysis and theme analysis of the interlaced analysis of the characteristics of the work, around the theme of Guangxi ethnic minorities, Combine the cultural background of the work to show the visual effect of the work. The third chapter describes the development background and characteristics of the three methods of expression, combined with the second part of the work content analysis of the performance of the work, for practical creation to provide guidance. The fourth chapter is also the last part of the article as the research results of the impact on the author's creative practice, in the research process of the theme of thought, the experience of performance techniques, as well as the author's own practical investigation is an important part of the creation. From the initial study of figure painting to the later independent creative practice, both embrace the love of Guangxi ethnic customs and respect for the local national traditions. The author understands and practices in his own creation, hoping to go deeper and deeper in the study of Guangxi's national figure painting works, to obtain a deeper level of understanding and understanding, and to build an artistic language system with its own characteristics in the combination of theory and practice. In order to better express Guangxi national style, promote the national theme figure painting works contribute their own modest strength.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2146717
[Abstract]:Guangxi is located in the Baiyue area, the number of ethnic minorities is rich, so there is a "Baiyue Land" laudatory name. To this day, some mountain areas in Guangxi still retain traditional cultural customs and beliefs. Their profound and unique cultural connotations are embodied in various aspects of local dance, clothing, architecture, life, and so on. Presenting simple and natural exotic national features has become the creative object of the painters. The gathering areas of ethnic minorities in Guangxi attract painters from all over the country to create sketches, which have produced many excellent works of figure painting on the subject of Guangxi ethnic minorities, showing a variety of local customs and customs in Guangxi from a certain point of view. At the same time, the creation of national themes also promoted the development of Guangxi figure painting. In the long river of history, the figure painting that expresses the customs and customs of the minority nationalities is accompanied by the painting for the purpose of politics, and the ethnic selection is dominated by the ethnic minorities in the north who have formed the distinctive national characteristics at that time. Before the founding of New China, Guangxi was in political chaos, its economy was depressed, and society was in a state of chaos. After the founding of New China, the CPC Central Committee eliminated bandits and opened a way for the development of Guangxi's figure painting. The figure painting works of Guangxi ethnic minorities gradually developed. This article divides into four chapters to carry on the analysis to the Guangxi nationality theme figure painting. The first chapter is divided into two parts. The first part describes the development and current situation of figure painting of Guangxi minority theme after the founding of New China. Through the collection of relevant data, it analyzes the milestone stages in the process of development. And each stage corresponds to the national social background. In the second part, the author analyzes the cultural characteristics of Guangxi figure painting in the development stage of Guangxi figure painting. The emphasis is on the influence of Guangxi regional culture on the figure painting works of Guangxi, which is an indispensable connotation in the research process. It is of great significance. The second chapter describes the types of Guangxi minority theme, which is divided into two parts. The first part is the creation resources of Guangxi figure painting subject matter which can be collected, summarized and summarized the characteristics and classification of the collection resources in Guangxi region, making the second part of the creation type characteristics clear and clear. For a large number of works of analysis can also have a certain understanding. The second part and the third part, as important chapters of the article, enumerate a large number of related works, mainly from the content analysis and theme analysis of the interlaced analysis of the characteristics of the work, around the theme of Guangxi ethnic minorities, Combine the cultural background of the work to show the visual effect of the work. The third chapter describes the development background and characteristics of the three methods of expression, combined with the second part of the work content analysis of the performance of the work, for practical creation to provide guidance. The fourth chapter is also the last part of the article as the research results of the impact on the author's creative practice, in the research process of the theme of thought, the experience of performance techniques, as well as the author's own practical investigation is an important part of the creation. From the initial study of figure painting to the later independent creative practice, both embrace the love of Guangxi ethnic customs and respect for the local national traditions. The author understands and practices in his own creation, hoping to go deeper and deeper in the study of Guangxi's national figure painting works, to obtain a deeper level of understanding and understanding, and to build an artistic language system with its own characteristics in the combination of theory and practice. In order to better express Guangxi national style, promote the national theme figure painting works contribute their own modest strength.
【学位授予单位】：广西师范大学
【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7条
1 王凤敏;;中国画中的“以形写神”[J];大舞台;2012年03期
2 俞梦彦;中国人物画意象造型的艺术思考[J];福建师范大学学报(哲学社会科学版);1996年04期
3 蒋黎明;广西植被地理特点及其开发利用[J];广西师范大学学报(自然科学版);1993年04期
4 易嘉勋;邱萍;;西南民族绘画创作研究——西南少数民族题材的绘画创作探索[J];美术大观;2011年12期
5 顾玉红;;“以形写神”在工笔人物画教学中的意义[J];美术教育研究;2011年01期
6 刘玄;;现代工笔人物画表现手法的多样性[J];美术界;2013年10期
7 张胜冰;造型艺术与西南少数民族生殖崇拜[J];思想战线;1996年04期
，本文编号：2146717
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2146717.html
