论“线”在现当代中国山水画中的表现
发布时间：2018-11-03 11:21
【摘要】：“线”在中国山水画中的重要地位是毋庸置疑的。它作为最基本的绘画造型语言在中国山水画中运用,不仅可以达到状物的目的,而且也以艺术化的手段揭示出物象的性状情态,体现了山水画家对客观形象的概括、提炼和理解能力；也体现了画家们表现物象的能力。中国画“以线造型”的绘画样式,由线条构成最简单的艺术样式,这与老子的“道生一、一生二、二生三、三生万物”的哲学思想是相契合,潘天寿有这样的阐述：“画事用笔,不外点、线、面三者”,石涛也在他画论中写道：“一画者,众有之本,万象之根,见用于人,藏用于人……”,“借笔墨以写天地万物而淘泳乎我也,”进一步证明了线所具有的抒情写意性,由于画家在运笔中出现的各种变化,使线条自身具有了千变万化的形式。一方面,线条丰富多姿的形态可以唤起欣赏者对现实生活的万般物象中类似物体形态美的联想,使抽象的线条成为现实事物形体美的一种间接曲折的反映。另一方面,画家在运笔过程中的个人情绪、意趣、思想的灌注,使得中国画中的线条具有明显的画家个性特征,达到抒情、畅神、写意的作用,进而表现画家的审美理想、气质、心灵、品格,这就是常人所说的“画如其人”。 在现当代中国山水画中,要在继承传统的基础上创新“线”语言。但由于中国山水画及其“线”语言的发展正历经数千年的历史,有着深厚的历史根源和文化积淀,要跳出传统禁锢并在此基础上创造新的“线”语言,有着相当大的难度。但现当代画家如黄宾虹、潘天寿、张仃、陆俨少等却在既囿于传统又不离于传统的前提下创新了“线”语言,并成一家,成为后世学习的典范。这也为现当代山水画家在新的时代背景下创新“线”语言提供了可能和新的发展方向。继承传统又不仅是继承传统的技法,更是继承传统的文化和精神思想；创新“线”语言应弃传统中的糟粕,取传统之精华,同时也要做到扩大视野,有选择地吸收新时期中益于山水画“线”语言创新的因子,在新时代背景下,赋予中国山水画“线”语言新的生命力,进一步巩固“线”语言在中国山水画中的核心地位。
[Abstract]:The important position of line in Chinese landscape painting is beyond doubt. As the most basic language of painting and modeling, it can not only achieve the purpose of object, but also reveal the characteristic modality of object by artistic means, which reflects the generalization of objective image by landscape painter. Ability to refine and understand; It also reflects the ability of painters to represent objects. The painting style of Chinese painting "modeling by line" consists of lines to form the simplest art style, which coincides with Laozi's philosophy of "Taosheng one, two, three, three and three". Pan Tianshou has such an exposition: "painting with a pen, no more than a point, a line, a surface," Shi Tao also wrote in his painting theory: "A painter, the root of all things, see for man, hide for man." "by writing everything in the world, I am also swimming," further proving the lyrical brushwork of the line. As a result of the various changes in the painters' pen, the line itself has a variety of forms. On the one hand, the rich and colorful form of lines can evoke an association of the beauty of objects in all kinds of objects in real life, making abstract lines an indirect reflection of the beauty of reality. On the other hand, the individual emotion, interest and thought of the painter in the process of carrying pen make the lines in Chinese painting have obvious characteristics of the painter's personality, and achieve the function of lyricism, unobstructed spirit, freehand brushwork, and then express the artist's aesthetic ideal. Temperament, soul, character, this is what ordinary people call "painting like his people." In modern and contemporary Chinese landscape painting, the line language should be innovated on the basis of inheriting tradition. However, since the development of Chinese landscape painting and its "line" language is going through thousands of years of history, with deep historical roots and cultural accumulation, it is quite difficult to jump out of the traditional imprisonment and create a new "line" language on this basis. But modern and contemporary painters, such as Huang Binhong, Pan Tianshou, Zhang Ding, Zhang Ding and so on, have innovated "line" language under the premise of both tradition and tradition, and become a model for future generations to learn. This also provides a possible and new development direction for contemporary landscape painters to innovate "line" language under the new background. Inheriting tradition is not only inheriting traditional technique, but also inheriting traditional culture and spirit thought. Innovation "line" language should abandon the dross of tradition, take the essence of tradition, at the same time, it should expand its vision and selectively absorb the factors of language innovation of "line" of landscape painting in the new period, under the background of the new era, To give new vitality to the language of "line" of Chinese landscape painting, and further consolidate the core position of "line" language in Chinese landscape painting.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2307635
[Abstract]:The important position of line in Chinese landscape painting is beyond doubt. As the most basic language of painting and modeling, it can not only achieve the purpose of object, but also reveal the characteristic modality of object by artistic means, which reflects the generalization of objective image by landscape painter. Ability to refine and understand; It also reflects the ability of painters to represent objects. The painting style of Chinese painting "modeling by line" consists of lines to form the simplest art style, which coincides with Laozi's philosophy of "Taosheng one, two, three, three and three". Pan Tianshou has such an exposition: "painting with a pen, no more than a point, a line, a surface," Shi Tao also wrote in his painting theory: "A painter, the root of all things, see for man, hide for man." "by writing everything in the world, I am also swimming," further proving the lyrical brushwork of the line. As a result of the various changes in the painters' pen, the line itself has a variety of forms. On the one hand, the rich and colorful form of lines can evoke an association of the beauty of objects in all kinds of objects in real life, making abstract lines an indirect reflection of the beauty of reality. On the other hand, the individual emotion, interest and thought of the painter in the process of carrying pen make the lines in Chinese painting have obvious characteristics of the painter's personality, and achieve the function of lyricism, unobstructed spirit, freehand brushwork, and then express the artist's aesthetic ideal. Temperament, soul, character, this is what ordinary people call "painting like his people." In modern and contemporary Chinese landscape painting, the line language should be innovated on the basis of inheriting tradition. However, since the development of Chinese landscape painting and its "line" language is going through thousands of years of history, with deep historical roots and cultural accumulation, it is quite difficult to jump out of the traditional imprisonment and create a new "line" language on this basis. But modern and contemporary painters, such as Huang Binhong, Pan Tianshou, Zhang Ding, Zhang Ding and so on, have innovated "line" language under the premise of both tradition and tradition, and become a model for future generations to learn. This also provides a possible and new development direction for contemporary landscape painters to innovate "line" language under the new background. Inheriting tradition is not only inheriting traditional technique, but also inheriting traditional culture and spirit thought. Innovation "line" language should abandon the dross of tradition, take the essence of tradition, at the same time, it should expand its vision and selectively absorb the factors of language innovation of "line" of landscape painting in the new period, under the background of the new era, To give new vitality to the language of "line" of Chinese landscape painting, and further consolidate the core position of "line" language in Chinese landscape painting.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
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相关期刊论文 前3条
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2 乔念祖;;《石涛画语录》对后人的影响——浅谈黄宾虹的山水画变革[J];时代文学(上);2010年03期
3 叶三宝;;黄宾虹的山水画风及其鉴定[J];浙江工艺美术;2001年01期
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