工笔人物画中的色彩语言与线条形式研究
发布时间：2018-08-20 17:18
【摘要】：工笔人物画是中国传统人物画种中的重要组成部分。在中国绘画史上，“工笔”、“意笔”的术语差异还是非常明显的，并且常以“工细”与“野逸”或“工整”与“简笔”来略加区分。通览中国绘画史上的工笔人物画作品，其中色彩和线条的运用考究成为这一绘画体系区别于“简笔”人物画的明显之处。工笔人物画通常是以线条的形式美或者色彩的视觉美为主要表现手段，通过这两种媒介手段的运用，塑造一种或格调高古或富丽堂皇或清新雅致的艺术形式美。 色彩是工笔人物画创作中极为重要的表现手段之一。早在新石器时代开始，中围古人就已经发现不同的色彩给人带来的视觉感受是有明显差异的。原始人类用不同的色彩在彩陶上描绘出不同的动物形象，并且运用色彩表现不同的地理方位。具体到工笔人物画中，不同的色彩蕴含着不同时期的文化密码。魏晋时期的色彩观并不是非常突出，主要靠绢地的颜色来反衬人物形象的气质，这种形制正好反映了魏晋时期格调高古的审美思想，而庸代时期的人物画色彩艳丽，饱和度、明亮度都很高，这种艺术风格正是唐代上层军事贵欣的喜灯，具有装饰化的色彩审美享受趋势。 线条是工笔人物画中另外一个重要组成部分。中国绘画是“线”的艺术，从早期的岩画、彩陶绘画到原始文字、甲骨文。都是由抽象的“线”组成的。文人画理论中一直强调“书法用笔”，，其实强调的就是“线”的表现美感。而“骨法用笔”，“以形写神”等理论突出的正是线条在绘画中的特殊功用。在工笔人物画的发展史上，魏晋时期是线条艺术的重要时期，这个时期的工笔人物画主要是以线造型，通过线的力度美来传达出这个时代所崇尚的抽象的哲学思辩美。 色彩的视觉美与线条的力度美其实仅算是工笔人物画中外在的形式美要素。一幅作品的真实本质是要在外在的形式美要素下掩盖深层的文化内涵，并且通过“有意味的形式”感染人、教育人，从而传递出传统文化的精神感召力。正如《画品》所占“千载寂寥，披图可鉴”，正是因为作品内部包含的文化基因，欣赏者才能在具体的艺术作品中解读出不同时代的思想观念和审美意识，才能理解古人的审美价值导向和观念取舍。 本篇文章由引言、正文、结语三部分组成。在引言部分中，主要对这篇文章之所以选取“工笔人物画中的色彩语言和线条形式”作为研究课题的由来及背景做一番表述，论证选取色彩语言与线条形式这两者为研究突破口的合理性，从中寻找出工笔人物画中形式美与内容美和谐共处的连接点。正文部分由三个小章节组成。第一章节对工笔人物画中的色彩视觉美和线条形式美作一番简要介绍，以及两者在工笔人物画中的具体表现特征与存在形式；第二章节承接第一部分而来，主要概括中国审美思想发展过程提取出魏晋、唐宋、明清三个人物画发展历程中的代表性时期，提炼出三个时期由于不同的审美价值出现的力度美、视觉美、世俗美的审美风格差异；第三章属于新时期工笔人物画的发展，由于这一时期比较复杂，作者只是选取几个简单的例子论证工笔人物画在新时期依然在探索发展，具体结构主要是在色彩和线条表现上选取工笔重彩和浙派人物画作为立论点。第三部分属于结语，总结整篇文章，对工笔人物画有一个合理的认识，通过对不同历史时期工笔人物画的梳理，整理出这一绘画体系演变的核心要素所在。依据“笔墨随当代”的创新理念，合理看待新时期工笔人物画领域出现的工写结合的表现形式倾向。
[Abstract]:Meticulous figure painting is an important part of traditional Chinese figure painting. In the history of Chinese painting, the terminology difference between "meticulous brush" and "free brush" is still very obvious, and it is often slightly distinguished by "meticulous" and "wild" or "neat" and "simple brush". Fine brushwork figure painting usually takes the form beauty of lines or the visual beauty of colors as the main means of expression, through the use of these two media means, to create a kind of artistic form beauty with high style or grandeur or fresh and elegant.
Color is one of the most important means of expression in the creation of meticulous figure painting. As early as the Neolithic Age, the ancient people in Zhongwei discovered that different colors brought about different visual perceptions. The primitive people used different colors to depict different animal images on the painted pottery, and used color to express different geography. Orientation. Specifically, different colors in meticulous figure paintings contain cultural codes of different periods. The color concept of the Wei and Jin Dynasties was not very prominent, mainly by the color of silk to reflect the temperament of the image of the characters, this form just reflects the Wei and Jin Dynasties style of ancient aesthetic thinking, and the mediocre period of the figure paintings colorful, full. Harmony, brightness are high, this artistic style is the Tang Dynasty upper military joy of the lamp, with decorative color aesthetic enjoyment trend.
Line is another important part of meticulous figure painting. Chinese painting is the art of line, from early rock painting, painted pottery painting to primitive characters, oracle bone inscriptions. It is composed of abstract lines. In literati painting theory, it has always emphasized the use of pen in calligraphy, but in fact, it emphasized the expression of aesthetic feeling of line. In the development history of meticulous figure painting, the Wei and Jin Dynasties was an important period of line art. In this period, meticulous figure painting mainly used line modeling to convey the abstract philosophical beauty advocated by this era through the strength of the line.
In fact, the visual beauty of color and the intensity of lines are only the external elements of formal beauty in meticulous figure painting. The real essence of a work is to cover up the deep cultural connotation under the external elements of formal beauty, and to influence people through "meaningful forms" to educate people, thereby conveying the spiritual appeal of traditional culture. It is precisely because of the cultural gene contained in the works that the appreciator can interpret the ideas and aesthetic consciousness of different times in the specific works of art, and understand the orientation of aesthetic value and the choice of ideas of the ancients.
This article is composed of three parts: introduction, text and conclusion. In the introduction part, the reason why this article chooses "color language and line form in meticulous figure painting" as the origin and background of the research topic is described, and the rationality of choosing color language and line form as the research breakthrough is demonstrated. The main body is composed of three chapters. The first chapter gives a brief introduction to the beauty of color vision and line form in meticulous figure painting, and the specific characteristics and existing forms of the two in meticulous figure painting. The third chapter is the development of fine brushwork figure painting in the new period, because of the different aesthetic value of the three periods of strength beauty, visual beauty, secular beauty aesthetic style differences. This period is more complex, the author only selected a few simple examples to demonstrate that meticulous figure painting in the new era is still in the exploration and development, the specific structure is mainly in the color and line performance of meticulous brush heavy color and Zhejiang figure painting as a standpoint. Through sorting out meticulous figure paintings in different historical periods, this paper finds out the core elements of the evolution of this painting system. According to the innovative concept of "brush and ink with the contemporary era", we can rationally treat the manifestation tendency of the combination of meticulous figure paintings in the new era.
【学位授予单位】：吉林大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2194402
[Abstract]:Meticulous figure painting is an important part of traditional Chinese figure painting. In the history of Chinese painting, the terminology difference between "meticulous brush" and "free brush" is still very obvious, and it is often slightly distinguished by "meticulous" and "wild" or "neat" and "simple brush". Fine brushwork figure painting usually takes the form beauty of lines or the visual beauty of colors as the main means of expression, through the use of these two media means, to create a kind of artistic form beauty with high style or grandeur or fresh and elegant.
Color is one of the most important means of expression in the creation of meticulous figure painting. As early as the Neolithic Age, the ancient people in Zhongwei discovered that different colors brought about different visual perceptions. The primitive people used different colors to depict different animal images on the painted pottery, and used color to express different geography. Orientation. Specifically, different colors in meticulous figure paintings contain cultural codes of different periods. The color concept of the Wei and Jin Dynasties was not very prominent, mainly by the color of silk to reflect the temperament of the image of the characters, this form just reflects the Wei and Jin Dynasties style of ancient aesthetic thinking, and the mediocre period of the figure paintings colorful, full. Harmony, brightness are high, this artistic style is the Tang Dynasty upper military joy of the lamp, with decorative color aesthetic enjoyment trend.
Line is another important part of meticulous figure painting. Chinese painting is the art of line, from early rock painting, painted pottery painting to primitive characters, oracle bone inscriptions. It is composed of abstract lines. In literati painting theory, it has always emphasized the use of pen in calligraphy, but in fact, it emphasized the expression of aesthetic feeling of line. In the development history of meticulous figure painting, the Wei and Jin Dynasties was an important period of line art. In this period, meticulous figure painting mainly used line modeling to convey the abstract philosophical beauty advocated by this era through the strength of the line.
In fact, the visual beauty of color and the intensity of lines are only the external elements of formal beauty in meticulous figure painting. The real essence of a work is to cover up the deep cultural connotation under the external elements of formal beauty, and to influence people through "meaningful forms" to educate people, thereby conveying the spiritual appeal of traditional culture. It is precisely because of the cultural gene contained in the works that the appreciator can interpret the ideas and aesthetic consciousness of different times in the specific works of art, and understand the orientation of aesthetic value and the choice of ideas of the ancients.
This article is composed of three parts: introduction, text and conclusion. In the introduction part, the reason why this article chooses "color language and line form in meticulous figure painting" as the origin and background of the research topic is described, and the rationality of choosing color language and line form as the research breakthrough is demonstrated. The main body is composed of three chapters. The first chapter gives a brief introduction to the beauty of color vision and line form in meticulous figure painting, and the specific characteristics and existing forms of the two in meticulous figure painting. The third chapter is the development of fine brushwork figure painting in the new period, because of the different aesthetic value of the three periods of strength beauty, visual beauty, secular beauty aesthetic style differences. This period is more complex, the author only selected a few simple examples to demonstrate that meticulous figure painting in the new era is still in the exploration and development, the specific structure is mainly in the color and line performance of meticulous brush heavy color and Zhejiang figure painting as a standpoint. Through sorting out meticulous figure paintings in different historical periods, this paper finds out the core elements of the evolution of this painting system. According to the innovative concept of "brush and ink with the contemporary era", we can rationally treat the manifestation tendency of the combination of meticulous figure paintings in the new era.
【学位授予单位】：吉林大学
【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4条
1 张琳;;当代工笔人物画中的色彩元素[J];美术教育研究;2011年11期
2 黄艾,陈丽香;浅析中国传统工笔人物画意象色彩[J];苏州大学学报(工科版);2004年03期
3 于栋华;;工笔人物画色彩浅析[J];作家;2008年22期
4 明卫红;;中西方“色彩观”的文化比较研究[J];艺术百家;2010年S2期
本文编号：2194402
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2194402.html
