中国画线性语言研究
发布时间：2018-11-24 14:15
【摘要】：线作为一种符号本身是一种情感载体，承载着“海纳百川，有容乃大”的意韵和内涵，是表现艺术家内心情感的一种特殊寄托方式，亦是画家自我精神和特定心境的外显方式，正如北宋刘道醇在《圣朝名画录》中提到的：“功期造化，创意自我”。线性语言即线的一种本质属性，线在画面的理性化排列构成了相对应的断续、均衡、曲折、疏密、刚柔、长短、虚实、开合、重叠的正负关系，这些关系赋予画面秩序感、运动感和生命感。中国画产生于人与自然社会的关系之中，是以线造型为主的艺术，唐代张彦远在《历代名画记》中提到：“无线者非画也”，，历代中国画家无一不是在线的使用上独树一帜，登峰造极。 从原始壁画的单线描绘到半坡、马家窑彩陶花纹的流畅线条，从战国楚墓中出土帛画的勾线填彩到汉代画像石、画像砖上古拙劲挺的线条，从顾恺之《洛神赋》里的“春浮空云，流水行地”到“吴带当风”的流美遒劲，从隋朝展子虔《游春图》的方硬转折、婉转柔缓的用笔到五代荆浩《匡庐图》里复线条式“皴法”的出现，从北宋武宗元《朝元仙杖图》稿本中粗细变化丰富的用线到李公麟纸本不设色的“白描”，从明代徐渭泼墨淋漓大写意笔法的开创到清代朱耷写意简笔的描绘，从元四家山水画笔墨程式的形成到清代四王山水画笔墨抽象美的确立。以上论述皆为线性语言在中国绘画史上的变化发展，线语言的每次向前推进都值得我们从当时社会文化背景、审美情趣以及一定的传统美学和哲学思想等方面进行研究探讨，这对当代中国画的传承创新与发展具有积极而深远的意义。
[Abstract]:As a symbol itself, the line is a kind of emotional carrier, carrying the meaning and connotation of "all rivers in the sea, tolerance is big", it is a special sustenance way to express the artist's inner emotion, and it is also the explicit way of the painter's self-spirit and special state of mind. As Liu Daool of Northern Song Dynasty mentioned in the Records of famous paintings of the Holy Dynasty: "the period of creation, creative self." A linear language is an essential attribute of a line. The rational arrangement of lines in the picture constitutes the corresponding positive and negative relationships of discontinuity, equilibrium, twists and turns, density, rigidity, flexibility, length, vanity, opening and closing, and overlap, which give the picture a sense of order. Sense of movement and sense of life. Chinese painting originated from the relationship between human beings and natural society. It is an art dominated by line modeling. Zhang Yanyuan of Tang Dynasty mentioned in the Records of famous paintings of the past dynasties that "wireless painting is not the same as painting." Chinese painters of all previous dynasties have created a school of their own in their online use. reach the peak of perfection From the single line of the original murals to the Banpo, the smooth lines of the painted pottery patterns of the Majiayao, from the curled lines of the silk paintings unearthed in the Chu Tombs of the warring States period to the Han Dynasty stone sculptures, the lines on the bricks of the ancient times are stiff and firm. From the "spring clouds floating in spring, flowing water to the land" in Gu Kaizhi's "Luoshen Fu" to the flowing beauty of "Wu Zai Dangfeng", and from the square and hard turning point of the Sui Dynasty's exhibition son godliness "Chun", From the gentle and gentle brush to the appearance of the "chapping method" of the Li Fu line style in Jinghao's "Kuanglu Picture" in the five dynasties, from the thick and varied lines in the manuscript of Wuzong Yuan Dynasty and the Immortals of the Dynasty and Yuan Dynasty, to Li Gonglin's uncolored "white drawing", From the creation of Xu Wei's great freehand brushwork in the Ming Dynasty to the description of the Qing Dynasty's Zhu Da's freehand brushwork, from the formation of the Yuan Dynasty's four landscape painting strokes to the establishment of the abstract beauty of the Qing Dynasty's four kings' landscape paintings. The above expositions are all the changes and developments of linear language in the history of Chinese painting. Every advance of line language is worth studying from the social and cultural background, aesthetic taste and certain traditional aesthetic and philosophical thoughts of that time. This is of positive and profound significance to the inheritance, innovation and development of contemporary Chinese painting.
【学位授予单位】：鲁东大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
本文编号：2354035
[Abstract]:As a symbol itself, the line is a kind of emotional carrier, carrying the meaning and connotation of "all rivers in the sea, tolerance is big", it is a special sustenance way to express the artist's inner emotion, and it is also the explicit way of the painter's self-spirit and special state of mind. As Liu Daool of Northern Song Dynasty mentioned in the Records of famous paintings of the Holy Dynasty: "the period of creation, creative self." A linear language is an essential attribute of a line. The rational arrangement of lines in the picture constitutes the corresponding positive and negative relationships of discontinuity, equilibrium, twists and turns, density, rigidity, flexibility, length, vanity, opening and closing, and overlap, which give the picture a sense of order. Sense of movement and sense of life. Chinese painting originated from the relationship between human beings and natural society. It is an art dominated by line modeling. Zhang Yanyuan of Tang Dynasty mentioned in the Records of famous paintings of the past dynasties that "wireless painting is not the same as painting." Chinese painters of all previous dynasties have created a school of their own in their online use. reach the peak of perfection From the single line of the original murals to the Banpo, the smooth lines of the painted pottery patterns of the Majiayao, from the curled lines of the silk paintings unearthed in the Chu Tombs of the warring States period to the Han Dynasty stone sculptures, the lines on the bricks of the ancient times are stiff and firm. From the "spring clouds floating in spring, flowing water to the land" in Gu Kaizhi's "Luoshen Fu" to the flowing beauty of "Wu Zai Dangfeng", and from the square and hard turning point of the Sui Dynasty's exhibition son godliness "Chun", From the gentle and gentle brush to the appearance of the "chapping method" of the Li Fu line style in Jinghao's "Kuanglu Picture" in the five dynasties, from the thick and varied lines in the manuscript of Wuzong Yuan Dynasty and the Immortals of the Dynasty and Yuan Dynasty, to Li Gonglin's uncolored "white drawing", From the creation of Xu Wei's great freehand brushwork in the Ming Dynasty to the description of the Qing Dynasty's Zhu Da's freehand brushwork, from the formation of the Yuan Dynasty's four landscape painting strokes to the establishment of the abstract beauty of the Qing Dynasty's four kings' landscape paintings. The above expositions are all the changes and developments of linear language in the history of Chinese painting. Every advance of line language is worth studying from the social and cultural background, aesthetic taste and certain traditional aesthetic and philosophical thoughts of that time. This is of positive and profound significance to the inheritance, innovation and development of contemporary Chinese painting.
【学位授予单位】：鲁东大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
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本文编号：2354035
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