试论写生在中国画创作过程中的重要作用

发布时间：2018-10-12 21:25

【摘要】：中国画语言的形成是经过了历代相传和发展而来的，是世界艺术之林所独有的一种艺术形式。艺术的思维方式与实践是难以捉摸的，其语言的表达也是千变万化的，生活的方式不同、态度不同和习惯不同，其艺术语言的形成也不同。绘画语言影射的是画家的智慧与思想，独特的思维体系体现了艺术家感性层面的真实，独特的艺术语言造就了别样的艺术特色。中国画的创作是带有情感的，从本质上来说，中国画创作是画家表达思维活动和审美情感的一种方式。所以，优秀的中国画作品是具有丰富的情感色彩和思想内涵的。而艺术本身的发展来说都是具有两面性的，很多传统的，经典的中国画作品给我们带来充分的依托和借鉴，与此同时，它们也带来个负担与守旧。所以说学习传统并不是说复制传统，，也不是传统中所有的东西都要学习，而是有选择的学习。当传统的中国画语言不能很好地、直接地、全面地表达自己的思想时，这就要冲破原有艺术语言的枷锁，勇敢地去寻找、探索和创造新的语言方式，使自己的思想表达得更加直接、明晰，个性更为强烈。同样，经典作品的展现，不仅让我们看到了中国画的发展历程与进步，而且也承载着时代的精神与特色。这些作品最主要的特点是所画的内容都是有客观依据的，都不是凭空想象和胡乱编制的，而是对客观对象的“写生”。“写生”可以不用考虑太多传统绘画所带来的枷锁，这样不仅解决了直接引用传统中国画语言所带来的一些问题，同时也加深了作者面对对象的切身感受，进而促进画家本人的能动性。综上所述，针对中国画创作过程中所遇到的一些问题，以及经典作品给我们带来的一些启示，还有写生所体现的本质内涵与意义得出的综合结论：中国画创作离不开写生。
[Abstract]:The formation of Chinese painting language has been passed down and developed through the past dynasties, and it is a unique art form of the world art forest. The way of thinking and practice of art is elusive, the expression of language is changeable, the way of life is different, the attitude and habit are different, and the formation of artistic language is also different. Painting language insinuates the wisdom and thought of the painter, the unique thinking system embodies the reality of the artist's perceptual level, and the unique artistic language creates different artistic characteristics. The creation of Chinese painting is emotional. In essence, Chinese painting creation is a way for painters to express their thinking activities and aesthetic feelings. Therefore, excellent Chinese painting works are rich in emotional color and ideological connotation. The development of art itself has two sides, many traditional, classical Chinese painting works to bring us full support and reference, at the same time, they also bring a burden and conservatism. So learning tradition is not to copy tradition, not to learn everything in tradition, but to learn selectively. When the traditional Chinese painting language cannot express its thoughts well, directly and comprehensively, it will break through the shackles of the original artistic language and courageously seek, explore and create new ways of language. To make their thoughts more direct, clear, and strong personality. Similarly, the exhibition of classical works not only makes us see the development and progress of Chinese painting, but also bears the spirit and characteristics of the times. The most important feature of these works is that the contents of these works are all objectively based, not by imagination and random compilation, but by "sketching" of objective objects. "sketching" does not have to consider too many shackles brought about by traditional painting, which not only solves some problems caused by the direct quotation of traditional Chinese painting language, but also deepens the author's personal feelings of facing the object. And then promote the painter's own initiative. To sum up, in view of some problems encountered in the process of Chinese painting creation, as well as the classical works to bring us some inspiration, as well as the essential connotation and significance of sketching embodied in the comprehensive conclusion: Chinese painting can not be separated from sketching.
【学位授予单位】：鲁迅美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212

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