从苏汉臣《长春百子图》浅论“全景式”构图的当代启示

发布时间：2018-09-17 15:23

【摘要】：宋代苏汉臣的《长春百子图》是表现婴戏题材的集大成者,在中国美术史上,将特意描绘孩童游戏为题材的人物画画作称为“婴戏图”,其主要特点是刻画孩童嬉戏、游玩的场景。自从进入学习中国画人物画学业以来,个人于生活体味和兴趣也一直比较关注婴戏图这一题材,在毕业论文中本人选择了宋代苏汉臣的作品《长春百子图》为研究对象,主要拟从它的全景式构图为研究方向,探讨此构图对于当代绘画创作的启示。画家苏汉臣的《长春百子图》中,如何运用全景式构图方法,使之成为宋代乃至中国美术史上的一幅重要画作并启迪后世,值得深究。《长春百子图》中,其巧妙的动态样式和陈设布局,让每一个人物都得到传神和精彩的表达。亭台楼阁的巧妙安排,四时景象的时空统一,其典雅的设色,虚实相生的意蕴,群体式形象的出现,诗意的追求,这些鲜明的绘画特点,与它全景式构图和意境营造也很好地契合了散点式透视的原理,即为大场景的叙事形式做了充分的铺垫,这形成了《长春百子图》的全景式构图的独特表现特长与魅力。这种构图方式的绘画作品在北宋还有张择端的《清明上河图》中也得到展现,其画面饱满,场面宏大,市井人物形象生动,建筑庭院众多,画面中给人以无限的真实感和想象空间。这些都是宋代绘画中全景式构图之美,这种具有独特的中国式构图,相对西方的焦点透视,更具中国民族绘画精神与画理的独特性,对后世的绘画创作有着深远的影响。在当代,西方绘画被大量引进,传统绘画中优秀的意象表现、构图方式,有所丢失与式微,表现在绘画构图形式普遍趋于愈加简疏以至简易单调。有的更强调写实的特征而忽略了绘画构图的自在的创造性和意境的表现力,缺少跨越时空统一的大场景的展现,欠缺群体式的人物生动的画面组合,丰富样式是结合艺术形式的缺失。笔者认为,通过对《长春百子图》中全景式构图的分析,将对于警示当代的中国绘画着重一味描绘现实,截取局部的边角式构图有着很好的调适作用。由于历史和文化的影响,中国绘画的理论和中国绘画的精髓,与西方绘画有着天然的区别。晋代谢赫的“六法”论中明确地指出了,中国绘画的精神精髓。“六法”中关于经营位置的描述是非常重要的。本文通过对苏汉臣的《长春百子图》全景式构图的解读和思考,希望找出其对于当代绘画的创作表现内容及构图手法,得出借古开今的一种启示。
[Abstract]:In the Song Dynasty, Su Hanchen's "pictures of hundred children in Changchun" are the epitomists of the theme of infantile drama. In the history of Chinese art, the figure paintings that specifically depict children's games are called "baby play drawings", the main characteristic of which is the depiction of children playing. A play scene. Since I entered the study of Chinese painting and figure painting, I have been paying more attention to the theme of baby play drawing in my life taste and interest. In my graduation thesis, I have chosen Su Hanchen's work, "Chun Baizi Pictures", as the object of study. From its panoramic composition as the research direction, this paper discusses the inspiration of this composition for contemporary painting creation. How to make use of the panoramic composition method to make it an important painting in Song Dynasty and even in Chinese art history and enlighten the later generations in the painter Su Hanchen's "100 Zi Pictures of Changchun" is worthy of further study. Its clever dynamic style and layout, let each character get vivid and wonderful expression. The ingenious arrangement of pavilions and pavilions, the unity of time and space of the 04:00 scene, the elegant design of colors, the implication of void and reality, the appearance of collective images, the pursuit of poetry, these distinctive features of painting, With its panoramic composition and artistic conception construction, it also accords well with the principle of scattered point perspective, that is, it makes a sufficient cushion for the narrative form of the big scene, which forms the unique performance and charm of the panoramic composition of Changchun Baizi Map. This form of painting was also displayed in the Northern Song Dynasty and Zhang Qiduan's the Ching Ming River Pictures, which were full of pictures, large scenes, vivid figures in the city, and numerous buildings in the courtyard. The picture gives people an infinite sense of reality and imagination. These are the beauty of panoramic composition in Song Dynasty painting, which has a unique Chinese composition, compared with the focus of the West, more unique Chinese national painting spirit and painting theory, and has a profound impact on the painting creation of later generations. In modern times, Western painting has been introduced in a large number, traditional painting in the excellent image performance, composition method, some loss and decline, performance in the form of painting composition generally tend to become more simple and even simple monotonous. Some put more emphasis on the realistic features and ignored the freedom of the composition of the painting and the expressive power of artistic conception, the lack of a large scene across the unity of time and space, the lack of a group of characters vivid picture combination, Rich style is the lack of combination of artistic form. The author thinks that by analyzing the panoramic composition in Changchun Baizi Map, it will be a good adjustment for the contemporary Chinese painting to focus on depicting reality and intercept the partial corner composition. Because of the influence of history and culture, the theory of Chinese painting and the essence of Chinese painting are naturally different from western painting. The spirit essence of Chinese painting is clearly pointed out in Sheikh's "six methods" theory in Jin Dynasty. The description of the position of business in the six methods is very important. Based on the interpretation and reflection of the panoramic composition of Su Hanchen's "Changchun Baizi Pictures", this paper hopes to find out its creative performance and composition techniques for contemporary painting, and to lend an inspiration from ancient times to the present.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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