文人画的“意境”与意象油画中的“意境”流变

发布时间：2018-09-13 10:06

【摘要】：当代语境下,中国与西方绘画面临着并存与挑战,本土文化需要我们自信和争取,文化的强弱取决于本民族艺术家对自己传统文化的坚守与自我审视的能力。当下,市场的经济繁荣、艺术活动的频繁、网络媒体的催生,让当代绘画的审美观念变得异化,图像的泛滥,使绘画图像走向两种极端,一是只注重观念而不重视技术,另一方面只注重技术而轻视观念的绘画,这是当代观念下绘画图像出现异化的现象,前者注重画什么,后者注重怎么画,极少有将二者之间紧密联系起来,这是当代绘画与装置行为等观念艺术并存发展的必然结果。另一方面,市场的介入,学术展览后面隐藏着商业的推手,让学术展览被商业取而代之,以至于绘画的学术价值处于尴尬的状态,学术与商业之间的较量导致绘画的多元并存。绘画作为人文学科的一部分,凝结着情感、个性、修养的精神桥梁,意象油画作为当代艺术的重要组成部分,我们不得不审视它当下的价值和意义,它的价值主要体现在是否有利于绘画的良性发展。意义在于面对纷繁的艺术世界,我们对绘画的学术价值的判断,绘画的坚守与创新。意象油画经历了现代绘画的艰难时期,“八五”新潮的洗礼,经过现代画家的探索与实践,获得了引人瞩目的成就,但题材倾向于对自然景观的成就,这是传统绘画与现代绘画的特殊时期,也是特殊历史阶段发展的必然结果,究其原因,这是与画家的生活经历密不可分的,近现代画家大部分都是从传统文化的熏陶中走出来的,从骨子里讲,这些画家血脉里蕴藏着传统文化的基因,有意无意之间流露出对传统绘画的认知,20世纪初期,这些画家中间大部分画家留洋深造,接受过系统西方教育模式,面对西方的油画媒介,他们更习惯于运用传统绘画的审美方式去传达绘画的意境。而今天我们看来,我们得用包容的态度是审视特殊历史时期美术的实践成果。正因为有了前辈艺术家的铺垫,才促进了当下绘画的繁荣。在新世纪的今天,意象油画经历了百年的发展与流变,趋于成熟,无论是语言上、观念上都取得可观的成就。但新世纪的意象油画家群体与现代画家相比,修养上远不如现代画家,但在技术与观念上是超越的,原因有以下几点:首先,现代画家与新世纪画家的身份不同,审美上出现的差异,导致意象油画传达的情感有别。其二,新世纪当代意象画家注重图式的精神性,而现代画家注重书写的精神传达,这是当代意象油画与现代油画本质上的区别。再次,当代意象画家效仿古人的创作方式,走入名山大川、市井乡野处寻找创作灵感,借景抒情抒发胸中意气,值得欣慰的是当代意象画家通过努力实践取得一些成就,但遗憾的是对于人与社会之间达到技术的“意境”与“观念”之间高度统一的画家仍然极少有成就者。本文从传统文人画的思想出发,传统绘画“意境”的演变与当代语境中“意象油画”的意境来对比研究。分析文人画的独立分科,在山水、人物、花鸟写意绘画语言特征以及取得的成就,在绘画上是怎样获得意境与表现意境。总结得出,封建社会传统文人画家是通过描绘自然界中的物象,达到“以物寄情”的理念,来表达画家对生活环境的周遭,表达画家对社会观、人生观的态度。所呈现意境素雅、高尚、内敛、富有文人气息。20世纪初期,现代主义时期,画家面对中西文化的碰撞、一些有识之士为本土绘画而担忧,出现了传统绘画的改良运动,画家面临着创新与坚守、写实与写意之间的挑战,间接之间,现代主义画家与传统文人画家相比,现代主义画家更富有社会责任感,而不同于文人画家对于绘画属于自娱。现代画家在传统绘画的改良中诞生了“写意油画”,新时期才更名为“意象油画”,前者是注重写意的精神,后者是注重图像传达的精神。在一定的程度上讲,“写意油画”是一种嫁接风格,语言上借鉴中西绘画所长,既吸取了西方的写实风格的长处,有凸显了传统绘画的优点。特殊的背景下,写意油画起到了承上启下的作用,为新世纪的新风格“意象油画”的发展作了铺垫。现代画家以大自然为母体而引发创作灵感,画家通过“写景”与“写物”来传达绘画精神,这种“写”的方式尽管在美术史上呈现出它该有的价值和意义,但要真正进入当代绘画的范畴,“写意”中的“写”这种表现方式已经成为过去式,在意象油画中成为图式中的一种手段和元素。真正的“意”不仅仅是传统绘画精神方面的遗存。而是当代语境下关注社会、关注民生的人文关怀,在人与社会之间达到一种共识,反映当代社会,在社会活动中发现真善美的渴望与追求。这才是当代语境下图像的精神,仅仅只靠“写”的精神来传达观念是单薄的。当下,意象油画不但需要“写”的精神性,而且还要通过“写意”来传达绘画的观念。将二者之间高度有机结合起来,强调图式的观念与写意的精神来表现人与社会之间的精神桥梁。这才是当代语境下“意象油画”真正的价值。
[Abstract]:In the contemporary context, Chinese and Western paintings are facing coexistence and challenges. Local culture needs us to be confident and strive for. The strength of culture depends on the ability of the artists of their own nation to adhere to their traditional culture and self-examination. The alienation of ideas and the overflow of images make the painting image go to two extremes. One is to pay attention to the concept but not to the technology. The other is to pay attention to the technology but despise the concept of painting. This is the phenomenon of alienation in the contemporary concept of painting images. The former pays attention to what to paint, the latter pays attention to how to draw, and rarely connects the two closely. On the other hand, with the intervention of the market, there is hidden behind the academic exhibition the promoter of commerce, so that the academic value of painting is in an awkward state, and the competition between the academic and commercial leads to the coexistence of multiple paintings. As a part of humanities, painting is a spiritual bridge of emotion, individuality and cultivation. As an important part of contemporary art, imagery oil painting has to examine its current value and significance. Its value is mainly reflected in whether it is conducive to the benign development of painting. The imagery oil painting has gone through the difficult period of modern painting, the baptism of the "Eighth Five-Year Plan" new trend, and through the exploration and practice of modern painters, it has obtained remarkable achievements, but the subject matter tends to the achievement of natural landscape. This is a special period of traditional painting and modern painting, and it is also a special period. The inevitable result of the development of the historical stage is closely related to the painter's life experience. Most of the modern painters came out of the influence of the traditional culture. In essence, these painters'blood contains the gene of the traditional culture, revealing the cognition of the traditional painting consciously or unconsciously. Most of these painters have studied abroad and received systematic western education. Facing the western oil painting media, they are more accustomed to conveying the artistic conception of painting by using the aesthetic methods of traditional painting. In the new century, imagery oil painting has experienced a hundred years of development and evolution, tending to mature, regardless of language, concepts have made considerable achievements. But compared with modern painters, imagery oil painters in the new century are far inferior to modern painters, but in technology and culture. Conceptual transcendence is due to the following reasons: first of all, the identity of modern painters and painters in the new century is different, aesthetic differences, resulting in the image of oil painting to convey different emotions. Thirdly, contemporary imagery painters imitate the creation of the ancients, go into the famous mountains and rivers, look for creative inspiration in the city and countryside, use the scenery to express their feelings. It is gratifying that contemporary imagery painters have made some achievements through hard practice, but unfortunately for the "artistic conception" between people and society to achieve technology. There are still very few artists who have achieved a high degree of unity between "and" conception. "This paper starts from the thought of traditional literati painting, compares the evolution of"artistic conception"of traditional painting with that of"imagery oil painting"in the contemporary context, and analyzes the independent branches of literati painting, the language features and achievements of landscape, characters, flowers and birds freehand brushwork. It is concluded that the traditional literati painters in feudal society achieved the idea of "expressing feelings with objects" by describing the objects in nature to express the painter's surroundings to the living environment, to express the painter's attitude towards the social outlook and outlook on life. In the early 20th century, in the face of the collision of Chinese and Western cultures, painters of insight worried about local paintings, the emergence of a movement for the improvement of traditional paintings, painters are faced with innovation and perseverance, realistic and freehand challenges, indirectly, modernist painters compared with traditional literati painters, modernist painters Modern painters have created "freehand oil painting" in the improvement of traditional paintings. It was renamed "image oil painting" in the new era. The former emphasizes the spirit of freehand brushwork, while the latter emphasizes the spirit of image transmission. Grafting style, drawing on the language of Chinese and Western painting, both absorb the advantages of Western realistic style, has highlighted the advantages of traditional painting. Under the special background, freehand oil painting plays a connecting link between the past and the future, paving the way for the development of the new style of the new century, "image oil painting." Modern painters created by taking nature as the mother body. Inspiration, painters through the "painting" and "painting" to convey the spirit of painting, although this "writing" in the history of art shows its due value and significance, but to truly enter the category of contemporary painting, "freehand" in the "writing" has become a form of the past, in the image of oil painting has become one of the schemata. The true "meaning" is not only the legacy of the spirit of traditional painting, but also the humanistic concern for the society and people's livelihood in the contemporary context. It is a common understanding between people and society, reflecting the contemporary society and the desire and pursuit of finding truth, goodness and beauty in social activities. At present, imagery oil painting not only needs the spirit of "writing", but also needs to convey the concept of painting through "freehand brushwork". Combining the two highly organic, emphasizing the concept of schema and freehand brushwork spirit to express the spiritual bridge between people and society. The true value of "image oil painting" in the context of generation.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213

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