基于传统视角下当代中国画个性缺失的思考与研究

发布时间：2018-08-03 20:28

【摘要】：中国画是中国文化的表率[(16)],是中华民族传统文化的重要组成部分,因此,中国画的发展在当代备受瞩目也是毋庸置疑的。对于中国画发展到当代是前进还是落后的问题,学术界也是议论纷纷。大的环境下要保持清醒,客观的、深入的去研究这个问题。直接入手有点困难,但我们可以做的是从某一个方向去研究中国画的发展,以此为切入点,再做评价。从中国画“个性”这个角度去研究,也是一个不错的切入点。“个性”是一件艺术品区别于另一件艺术品的重要因素。有了“个性”才有了艺术的丰富性和生命力。中国画的“个性”也彰显着中国画的丰富性和生命力。有了“个性”,一个画家才能自立于艺术之林,一幅画才能被视为稀有之珍宝。中国画从古至今名家辈出,晋唐时期的“顾陆张吴”,北宋时期的李成、范宽,南宋时期的“李刘马夏”,再到后来的元“四家”,明“四家”,清“四王”、“四僧”等等,师承传授,笔墨精思,留下了宏富的艺术作品。他们的作品有特点,有“个性”,彰显了中国画作为民族文化表率的无穷魅力。在我们看来,他们的作品就是传统,就是经典。因此我们应该多站在传统这个巨人的肩膀上来审视我们当代中国画的发展。看看当代的中国画,在西方写实主义浪潮的拍打下,中国画逐渐的从写意性开始向画某一个具体的东西转变。这不是什么好事。虽然说我们的科技有落后的地方,需要洋为中用,照搬过来,但是艺术的表达方式是不可以照搬的,尤其是对于中国画这样一种几千年传承下来,有着特定的艺术表达方法的艺术形式来说更是不可以的。中国画不同于西方文化中对物状形的“画东西”[(17)],它是在画一种东西背后的人的精神体验和感悟。你一旦想着怎么去画好东西,那么实物层面就压制了精神层面,那么作品本身所应该包含的更高的、更有内涵的精神层面便被削弱了,甚至等于零。在当代,人们的物质水平虽然提高了,但文化水平却下降了,画的好不好看却成了中国画的“重要”标准,看画的人也不再多注意画外的意思。因此,画画的人就竭尽全力把画画的像,好看,制作之风糜烂,只在表面上下功夫,逐渐的沦为了画画的“奴隶”。这样的画只能是装饰品,谈不上艺术品。这也是为什么当代工笔画盛行、写意画千篇一律的原因之一。问题出来了,起因何在?在于创作者本身。“意存笔先”[(16)],先有了作品要表达的意境然后落笔,这样的作品才有意思。这个“意”反映到创作者本身,就是表达创作者本身的体验和感悟,是“个性”的。当代中国画缺的就是这样一种“个性”,一种对于自然人生的体验和感悟。这又能怪谁呢?看看吧,那些流传下来的艺术珍品,都“躺”在博物馆里,看一眼都要买票。看似全国上下都在风风火火的搞美术展览,中国画还是没有融进人民的生活中去,中国画还是束之高阁。艺术市场也多是投资者和收藏家的交易场所,真正是老百姓买画的微乎其微,中国画市场的自由度显的尤为不足。学院的教育也呈现模式化的病态。学院成了培养画画机器的工厂,老师怎么画,学生怎么画,按部就班,并没有系统学习中国画的教学方式,结果消磨了学生本该有的“个性”,而那才是真正艺术所需要的。社会上也出现了一种叫做“名家班”的书画培训方式,目的确实怎么迅速的让学生成名,结果培养出来的大都是导师的复制品,跟自己的“个性”毫无关系。然而,导致这种“个性”缺失现象出现的因素有很多,也很复杂,不仅有外部因素,还有内部因素。说到底,画还是人画出来的,中国画“个性”的体现也是人“个性”的体现,要是创作者本身缺乏了这种创作能力,那么画出来的画自然个性不起来。当代,物质文明对精神文明的冲击,一定程度上影响了创作的自由,面对利益的趋使,创作者抛弃了中国画本质的,传统的,民族性的东西,而去画那些不带自己感情色彩,不具有“个性”的作品,去迎合展览,迎合市场。因此,如何在新的时代下去坚守中国画的传统阵营,保住中国画民族性的血脉,发扬中国画的“个性”,就显得尤为重要了。
[Abstract]:Chinese painting is the rate of Chinese culture [(16)]. It is an important part of Chinese traditional culture. Therefore, there is no doubt that the development of Chinese painting has attracted much attention in the present time. It is also a question of progress or backwardness in the development of Chinese painting to the present time. It is a little difficult to study this problem directly, but what we can do is to study the development of Chinese painting in a certain direction, and then to make an evaluation. From the perspective of "personality" in Chinese painting, it is also a good point of entry. "Personality" is an important factor in the difference between art and art. "Personality" has the richness and vitality of art. The "personality" of Chinese painting also highlights the richness and vitality of Chinese painting. With "personality", a painter can stand in the forest of art and a painting can be regarded as a rare treasure. Chinese paintings have come forth from ancient times to the present, "Gu Lu Zhang Wu" in the Jin and Tang Dynasties, the Northern Song Dynasty. Li Cheng, fan wide and "Li Liu Ma Xia" in the Southern Song Dynasty, then to the later yuan "four", "four", "four kings", "four monks", etc., were taught by teachers, and left the rich artistic works. Their works have characteristics and "personality", showing the infinite charm of Chinese painting as the expression of national culture. It seems to us that their work is the tradition, that is, the classic. So we should stand on the shoulders of the traditional giant to look at the development of our contemporary Chinese painting. Look at the contemporary Chinese painting. Under the flapping of the wave of western realism, Chinese painting gradually begins to change from the freehand brushwork to a specific thing. What a good thing. Although we have a backward place in science and technology, we need to make foreign use and copy it, but the expression of art can not be copied, especially for Chinese painting, which has been inherited for thousands of years and has a specific art form of artistic expression. Chinese painting is different from Western culture. In the form of "painting" (17), it is the spiritual experience and perception of people behind a kind of thing. Once you think about how to draw good things, then the physical level suppresses the spiritual level. Then the higher, more intension of the work itself should be weakened, even equal to zero. In the present time, people Although the level of material improvement, but the level of culture has fallen, the painting has become the "important" standard of Chinese painting, and the people of the painting no longer pay much attention to the meaning of the painting. Therefore, the painting people do their best to make the picture like, look good, make the wind eroding, only on the surface, gradually reduced to painting " "Slaves". Such paintings can only be ornaments, no art of art. This is one of the reasons why contemporary painting is popular, and one of the reasons for the monotony of freehand brushwork is one of the reasons. What is the problem? It is the author itself. "The meaning of the pen first" [(16]] first has the artistic conception to be expressed and then the writing is interesting. "It is reflected in the creator itself, that is to express the experience and perception of the creator itself. It is a" personality ". The contemporary Chinese painting is short of such a" personality ", a kind of experience and perception of natural life. Tickets. It seems that all the country and the country are doing fine art exhibitions in the wind and fire. Chinese painting has not melted into the people's life. Chinese painting is still on the shelf. The art market is also a place for investors and collectors. The real people buy paintings are very small. The freedom of Chinese painting market is particularly inadequate. The education of the college is also the same. The college has become a morbid pattern. The college has become a factory for drawing a painting machine. How the teacher draws, how the students draw, and the students do not systematically learn the teaching methods of Chinese painting. The result is the "personality" that the students should have, and that is what the real art needs. A kind of calligraphy and painting, called "the famous class", has also appeared in the society. The purpose of the training is to make the students become famous quickly, and the result is that most of them are the replicas of the tutors, which have no relation to their own "personality". However, there are many and complicated factors that lead to the phenomenon of the lack of personality. The embodiment of the "personality" of the Chinese painting is also the embodiment of "personality". If the creator itself lacks this creative ability, the painting natural personality is not up. Contemporary, the impact of the material civilization on the spiritual civilization, to a certain extent, influenced the freedom of creation. In the new era, how to stick to the traditional camp of Chinese painting, keep the blood of Chinese painting, and develop the "personality" of Chinese painting, is particularly important.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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