解读“十八描”线性艺术
发布时间：2018-11-10 23:22
【摘要】：当前，对于研究中国古代人物画的用笔与技法来说，丰富性和深广性上都不够充分。绘画工作者对于审美层面上更加注重，而不是用笔之法。然而，美术史学家对用笔之法也关注甚少，，对于线性的认识也是从古代人物画上的线性表达上有所了解，对此后人称之为“十八描”。 《十八描研究》一书是曾正明对“十八描”的专门研究，此书虽然首次将“十八描”作为研究课题，但表述内容总是有些叙薄难释之嫌。由于“十八描”的理论研究廖若星辰，但仍有据可依，首先，从敦煌壁画的白描研究及白描作为独立画科的发展至唐宋以来中国人物画的用笔之法的研究和探索。再次，对于明清时期的中国古代画谱的探究，内容上往往以言简意赅的语言和画作示范为例。而“十八描”艺术研究理论成果离不开明清画谱，画谱中的内容精结是传播“十八描”的重要媒介，也是普及中国线性艺术的一个重要途径。因此，从艺术价值上来看，意义深远。 美术理论研究至今并无多少佳作，元明清以来，文人雅士作为话语权的支配者，对于意象的追求程度已经达到忘怀技法之嫌。我想对技法理解需要从以下几点来了解，首先，绘画者对于线性艺术本身的感悟力，真正对于线的运用，笔法设计，技法形成的合理过程。其次，考查技法其后所指的文化方向，即形成此法的艺术思想、思维方式的承继及技法本身的嬗变过程。如何在这一时代会产生此技法之关系，这也是需要深思而不可回避的内容。 但“十八描”这一名词艺术性问题的成功展现与研究中国古代人物画用笔之法的关系是密切相连的，而不可分割。历史及文化演变过程的同时也对线性艺术的认识赋予了可观的发展，使其不断发展并不断革新，使纯粹技法的认识需要从文化史、艺术史和社会史的内涵底蕴中挖掘，才能真正意义上给与合理的解释。 因此，本论文在研究方法上以美术史和文化史的深层内涵为框架，把技法和艺术风格融入框架之中，以求索历史变迁之史观念下对于“十八描”这一名词形成、发展、嬗变过程的认识和解析。置于历史演变之中，对于文化与艺术风格的融合，也是一个新的尝试和考验，给于“十八描”这一名词探索及对于中国现代艺术绘画的用笔之法提供一个新元素的思考和借鉴之功效。
[Abstract]:At present, for the study of ancient Chinese figure painting pen and technique, richness and depth are not enough. Painting workers pay more attention to the aesthetic level, rather than using the method of pen. However, art historians pay little attention to the method of using pen, and the understanding of linearity is also from the linear expression of ancient figure painting. The book is Zeng Zhengming's special study of "Eighteen Sketch". Although this book takes "Eighteen Sketch" as its research subject for the first time, the content of its expression is always somewhat difficult to explain. Because of the theoretical study of "eighteen sketches" Liao Ruoxing, but still have evidence to rely on, first, from the white painting of Dunhuang murals and the development of white painting as an independent painting subject to the Tang and Song dynasties, the study and exploration of the method of Chinese figure painting. Thirdly, the research of ancient Chinese painting in Ming and Qing dynasties often takes concise language and painting demonstration as an example. However, the theoretical achievement of the art research of "eighteen drawings" can not be separated from the painting spectrum of Ming and Qing dynasties. The content of the painting spectrum is an important medium for spreading "eighteen sketches" and an important way to popularize Chinese linear art. Therefore, from the point of view of artistic value, far-reaching significance. Since the Yuan, Ming and Qing dynasties, the literati as the dominator of discourse power, the pursuit degree of image has reached the suspicion of forgetting the techniques. I want to understand the techniques from the following points: first of all, the painter's perception of the linear art itself, the real use of lines, pen design, the formation of a reasonable process. Secondly, it examines the cultural direction of the technique, that is, the artistic thought, the inheritance of the mode of thinking and the evolution of the technique itself. How to produce this kind of skill in this era is also the content that needs to be thought deeply and irrevocably. However, the successful display of the artistic problem of "eighteen drawings" is closely related to the study of the method of painting in ancient Chinese figure painting. At the same time, the process of history and cultural evolution has given considerable development to the understanding of linear art, making it continuously develop and innovate, so that the understanding of pure techniques needs to be excavated from the connotation of cultural history, art history and social history. In order to give a reasonable explanation in the real sense. Therefore, the research method of this thesis is based on the deep connotation of art history and cultural history, the techniques and artistic styles are incorporated into the framework, and the term "eighteen drawings" is formed and developed under the historical concept of historical change. The understanding and analysis of the transmutation process. In the course of historical evolution, it is also a new attempt and test for the integration of culture and artistic style. It provides a new element of thinking and reference to the exploration of the term "eighteen sketches" and to the method of using pen in Chinese modern art painting.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
本文编号：2323861
[Abstract]:At present, for the study of ancient Chinese figure painting pen and technique, richness and depth are not enough. Painting workers pay more attention to the aesthetic level, rather than using the method of pen. However, art historians pay little attention to the method of using pen, and the understanding of linearity is also from the linear expression of ancient figure painting. The book is Zeng Zhengming's special study of "Eighteen Sketch". Although this book takes "Eighteen Sketch" as its research subject for the first time, the content of its expression is always somewhat difficult to explain. Because of the theoretical study of "eighteen sketches" Liao Ruoxing, but still have evidence to rely on, first, from the white painting of Dunhuang murals and the development of white painting as an independent painting subject to the Tang and Song dynasties, the study and exploration of the method of Chinese figure painting. Thirdly, the research of ancient Chinese painting in Ming and Qing dynasties often takes concise language and painting demonstration as an example. However, the theoretical achievement of the art research of "eighteen drawings" can not be separated from the painting spectrum of Ming and Qing dynasties. The content of the painting spectrum is an important medium for spreading "eighteen sketches" and an important way to popularize Chinese linear art. Therefore, from the point of view of artistic value, far-reaching significance. Since the Yuan, Ming and Qing dynasties, the literati as the dominator of discourse power, the pursuit degree of image has reached the suspicion of forgetting the techniques. I want to understand the techniques from the following points: first of all, the painter's perception of the linear art itself, the real use of lines, pen design, the formation of a reasonable process. Secondly, it examines the cultural direction of the technique, that is, the artistic thought, the inheritance of the mode of thinking and the evolution of the technique itself. How to produce this kind of skill in this era is also the content that needs to be thought deeply and irrevocably. However, the successful display of the artistic problem of "eighteen drawings" is closely related to the study of the method of painting in ancient Chinese figure painting. At the same time, the process of history and cultural evolution has given considerable development to the understanding of linear art, making it continuously develop and innovate, so that the understanding of pure techniques needs to be excavated from the connotation of cultural history, art history and social history. In order to give a reasonable explanation in the real sense. Therefore, the research method of this thesis is based on the deep connotation of art history and cultural history, the techniques and artistic styles are incorporated into the framework, and the term "eighteen drawings" is formed and developed under the historical concept of historical change. The understanding and analysis of the transmutation process. In the course of historical evolution, it is also a new attempt and test for the integration of culture and artistic style. It provides a new element of thinking and reference to the exploration of the term "eighteen sketches" and to the method of using pen in Chinese modern art painting.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J212
【参考文献】
相关期刊论文 前3条
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3 谢颖淳;洪ii与《清平山堂话本》[J];中国文学研究;1999年04期
本文编号：2323861
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