画之骨—关于线的初探

发布时间：2018-11-02 06:42

【摘要】：本文首先从原始绘画入手通过视觉本源的认识来论述线的产生，在现实的物质世界中，线是不存在的，人们在日常生活中看到的“线”也仅是被物象所承载的一个视觉幻象，本文称之为线感，当画者把看到的“线”绘制到画面中时，才会产生真正意义上的线。从观看到绘画，线都贯穿于其中，所以我们有必要从视觉本源入手对线进行再认识。继而本文从中西方有关线的理论以及不同客观材料的运用来分析线的不同的表现性，即西方致力于真实的还原现实，直到二十世纪初，这种真实的还原被重新认识，组成画面的元素被抽离出来并发展到抽象，当抽象走到极致时，西方的架上绘画开始面临恐慌。而中国在宋代从设色山水中抽离出文人画，并以“道”的思想引领着发展，讲究师从，讲究线条自身的审美价值,一直传承至今。以此来认识东西方线之间（西方线的符号性和东方线的意象性）的差异，以及引出线以这种差异在画面中的共性表达。最后本文从历史上众多艺术家及其作品中分析线在画面中再现心灵、呈现物象、表现空间、组织构成四个方面的共性表达。使画者从开始观察到落实描绘能更清晰地认识到画面中线的这些共性，并使画者意图得到更充分的表达，以此来连接画者和观者的心灵共鸣。利用线的这些共性虽然不能达到画面的完美，但却能做到画面的相对和谐。
[Abstract]:This article begins with the original painting to discuss the generation of the line through the cognition of the visual origin. In the real material world, the line does not exist, and the "line" that people see in their daily life is only a visual illusion carried by the object image. This paper calls it the sense of line, when the painter draws the "line" into the picture, it will produce the line in the real sense. Lines run through from viewing to painting, so we need to re-understand the lines from the source of vision. Then this paper analyzes the different expressiveness of the line from the theory of the line in China and the west and the application of different objective materials, that is, the west devotes itself to the real reversion reality, until the beginning of the 20th century, this kind of real restoration was reunderstood. The elements that make up the picture are pulled out and developed to the abstract, and when the abstraction reaches its extreme, the Western frame painting begins to face panic. In the Song Dynasty, Chinese literati paintings were drawn from the painted landscape, and the "Tao" thought led the development, emphasizing the teachers and the aesthetic value of the lines themselves, which has been handed down to this day. In order to understand the differences between the eastern and western lines (the symbolism of the western lines and the imagery of the eastern lines), and the common expression of this difference in the picture. Finally, this paper analyzes the common expression of four aspects in the picture, such as reproducing the mind, presenting the object image, presenting the space of expression, and organizing the composition of the line from many artists and their works in history. From the beginning, the artist can clearly recognize these commonalities of the middle line of the picture and make the artist's intention more fully expressed, so as to connect the mind of the artist and the viewer. Although these commonalities of the line can not reach the perfection of the picture, they can achieve the relative harmony of the picture.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205

【相似文献】