现当代中国戏曲水墨人物画研究
发布时间：2018-10-21 18:09
【摘要】：20世纪的中国，伴随着中西文化融合的大潮，中国的艺术家们也开始重新审视和反省自身的艺术方向。于是在中国画自身体系内出现了以潘天寿、黄宾虹、李可染、傅抱石等为代表的温和改良派大师。同时也出现了如林风眠、徐悲鸿、关良等主张中西结合的艺术大师。在他们的引领下，中国画坛开始了新一轮的改革风潮。 而以关良和林风眠为代表的戏曲水墨人物画的出现，，不仅在一定程度上弥补了中国画在题材上的缺失，更重要的是他们在戏曲水墨人物画方面的大胆尝试，将中西艺术的融汇向前大大的推进了一步。由于戏曲自身就是一种高度凝练、高度程式化的艺术形式，并且与中国画之间有着千丝万缕的联系，如虚拟、夸张、写意等美学特征，所以十分有利于中国画摆脱写实绘画的束缚，从而在一种艺术形式的基础上完成对另一种艺术形式的探索。而这种探索在现在的画坛依然有重要的参考价值。 本论文将从中国戏曲和中国画的审美共性出发，通过对现当代戏曲水墨人物画发展和传承的梳理。分析比较中国戏曲水墨人物画家在艺术构思和艺术实践中的共性和差异性，分析当代戏曲水墨人物画发展现状及其形成的原因。总结得出中国戏曲人物画对当代中国水墨人物画创作的影响及启示。
[Abstract]:In the 20th century, Chinese artists began to re-examine and reflect on their own artistic direction with the tide of Chinese and Western culture merging. Therefore, in the system of traditional Chinese painting, there appeared the moderate and reformist masters represented by Pan Tianshou, Huang Binhong, Li Keran, etc. At the same time, such as Lin Fengmian, Xu Beihong, Guan Liang advocated the combination of Chinese and Western masters of art. Under their guidance, the Chinese painting world began a new wave of reform. However, the appearance of traditional Chinese painting, represented by Guan Liang and Lin Fengmian, not only makes up for the lack of Chinese painting in subject matter to a certain extent, but also makes up for their bold attempt in the aspect of traditional Chinese character painting. The integration of Chinese and Western art to a significant step forward. Because the opera itself is a highly condensed, highly stylized art form, and there are inextricably linked with Chinese painting, such as virtual, exaggeration, freehand brushwork and other aesthetic characteristics, Therefore, it is very helpful for Chinese painting to get rid of the bondage of realistic painting and to complete the exploration of another art form on the basis of one kind of art form. But this kind of exploration still has the important reference value in the present painting world. This paper will start from the aesthetic generality of Chinese opera and Chinese painting, through the development and inheritance of modern and contemporary traditional Chinese painting. This paper analyzes and compares the commonness and difference of Chinese traditional Chinese character artists in their artistic conception and practice, and analyzes the present situation of the development of contemporary traditional Chinese opera and ink figure painting and the reasons for their formation. Summing up the influence and enlightenment of Chinese traditional Chinese figure painting on contemporary Chinese ink figure painting creation.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2285923
[Abstract]:In the 20th century, Chinese artists began to re-examine and reflect on their own artistic direction with the tide of Chinese and Western culture merging. Therefore, in the system of traditional Chinese painting, there appeared the moderate and reformist masters represented by Pan Tianshou, Huang Binhong, Li Keran, etc. At the same time, such as Lin Fengmian, Xu Beihong, Guan Liang advocated the combination of Chinese and Western masters of art. Under their guidance, the Chinese painting world began a new wave of reform. However, the appearance of traditional Chinese painting, represented by Guan Liang and Lin Fengmian, not only makes up for the lack of Chinese painting in subject matter to a certain extent, but also makes up for their bold attempt in the aspect of traditional Chinese character painting. The integration of Chinese and Western art to a significant step forward. Because the opera itself is a highly condensed, highly stylized art form, and there are inextricably linked with Chinese painting, such as virtual, exaggeration, freehand brushwork and other aesthetic characteristics, Therefore, it is very helpful for Chinese painting to get rid of the bondage of realistic painting and to complete the exploration of another art form on the basis of one kind of art form. But this kind of exploration still has the important reference value in the present painting world. This paper will start from the aesthetic generality of Chinese opera and Chinese painting, through the development and inheritance of modern and contemporary traditional Chinese painting. This paper analyzes and compares the commonness and difference of Chinese traditional Chinese character artists in their artistic conception and practice, and analyzes the present situation of the development of contemporary traditional Chinese opera and ink figure painting and the reasons for their formation. Summing up the influence and enlightenment of Chinese traditional Chinese figure painting on contemporary Chinese ink figure painting creation.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
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本文编号：2285923
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