本文關(guān)鍵詞： 中國人物畫 藏族題材 發(fā)展 創(chuàng)作重點(diǎn) 布局 色彩 造型語言　出處：《山東大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：藏族題材中國人物畫可以說是中華民族相互團(tuán)結(jié)與相互融合文化結(jié)晶。它涵蓋了反映藏族同胞歷史生活狀態(tài)的繪畫,以及不同時(shí)代運(yùn)用中國畫語言探索來表現(xiàn)藏族題材的繪畫,同時(shí)繪就了一部藏區(qū)百年來社會發(fā)展的形象史,是中國少數(shù)民族題材繪畫的重要組成部分。在這一創(chuàng)作領(lǐng)域,經(jīng)過無數(shù)前輩努力,為我們留下的經(jīng)典作品不勝枚舉,正是有了這些藝術(shù)家的付出才使得這段美術(shù)史充滿了壯麗民族色彩。就目前來說表現(xiàn)藏族題材繪畫的作品和畫家屢見不鮮,但是對于藏族題材這方面的理論研究仍然較少。對其進(jìn)行更深入的探究極其必要,在實(shí)踐的基礎(chǔ)之上對其進(jìn)行理論的延伸和拓展,必將推動中國當(dāng)代少數(shù)民族題材繪畫這一領(lǐng)域的發(fā)展與創(chuàng)新。 本文以藏族題材中國人物畫為主線,對早期的藏族美術(shù)發(fā)展進(jìn)行了追溯,對新中國成立以來藏族題材中國人物畫的思想觀念和表現(xiàn)手段的演變更新進(jìn)行了梳理和研究,并結(jié)合每個(gè)時(shí)期代表性的作品以及畫家進(jìn)行了分析,對藏族題材中國人物畫的創(chuàng)作重點(diǎn)進(jìn)行了分析主要表現(xiàn)在民族精神和民族服飾,以及藏民族的世俗與宗教生活幾個(gè)方面,結(jié)合近些年當(dāng)下的畫家及優(yōu)秀作品從作品面貌、經(jīng)營布局、民族色彩、造型語言進(jìn)行了分析探討,在論文寫作期間,筆者搜集整理了相關(guān)的文獻(xiàn)資料和圖像資料,并進(jìn)行了大量藏族題材人物畫的筆墨實(shí)踐與創(chuàng)作。全文主要分為五個(gè)章節(jié),第一章是對早期藏傳佛教美術(shù)的陳述,第二章的內(nèi)容結(jié)合畫家及作品分析對建國后兩個(gè)發(fā)展時(shí)期進(jìn)行了梳理,第三章分析了藏族題材人物畫創(chuàng)作重點(diǎn),主要概括為突出民族精神、獨(dú)具表現(xiàn)性的民族服飾、民俗及宗教節(jié)日幾個(gè)方面。第四章通過作品面貌、經(jīng)營布局、民族色彩、和造型語言這四個(gè)方面對藏族題材人物畫進(jìn)行了研究,尤其在造型語言方面結(jié)合了自己在攻讀碩士期間的創(chuàng)作實(shí)踐進(jìn)行分析,對寫實(shí)與寫意包容兼顧的表現(xiàn)方法進(jìn)行了探索�？偨Y(jié)出人物畫的創(chuàng)作過程中不僅要在“實(shí)象”之處精雕細(xì)琢,同時(shí)也要在“空白”之處經(jīng)營推敲,方能取得“全局皆佳”的藝術(shù)效果。正確處理好二者的關(guān)系,做到“寫實(shí)”“寫意”的形式和諧與統(tǒng)一是至關(guān)重要的。在文章的最后是筆者對現(xiàn)當(dāng)下藏族題材中國人物畫領(lǐng)域?qū)Υ嬖诘囊恍┈F(xiàn)象的思考和淺見。一是中國傳統(tǒng)文化精神的流失；二是在繪畫表現(xiàn)形式上體現(xiàn)出樣式單一；三是理論指導(dǎo)相對與藝術(shù)實(shí)踐的滯后。
[Abstract]:Chinese figure painting with Tibetan theme can be said to be the crystallization of the Chinese nation's unity and mutual fusion of culture. It covers paintings that reflect the historical living conditions of Tibetan compatriots. And different times to explore the use of Chinese painting language to express the Tibetan theme of painting, at the same time painted a Tibetan area over the past hundred years of social development of the image history. It is an important part of Chinese minority painting. In this field of creation, through the efforts of countless predecessors, the classic works left for us are endless. It is with the efforts of these artists that this period of art history is full of magnificent national color. At present, the performance of Tibetan painting works and painters are common. But for the Tibetan theme of this aspect of theoretical research is still less. It is extremely necessary to conduct a more in-depth exploration, on the basis of practice on the basis of its theoretical extension and expansion. It will promote the development and innovation of Chinese contemporary minority painting. In this paper, the Tibetan theme of Chinese figure painting as the main line, the early development of Tibetan fine arts have been traced back. This paper combs and studies the evolution and renewal of Tibetan theme Chinese figure painting since the founding of New China, and analyzes the representative works and painters of each period. The emphasis of the creation of Chinese figure painting of Tibetan theme is analyzed in the aspects of national spirit and national dress, as well as the secular and religious life of Tibetan nationality. Combined with the current painters and excellent works in recent years from the work appearance, business layout, national color, modeling language analysis and discussion, during the writing of the paper. The author collected and sorted out the relevant literature and image materials, and carried out a large number of Tibetan subject figure painting practice and creation. The full text is divided into five chapters, the first chapter is the statement of the early Tibetan Buddhist art. The content of the second chapter combined with the painter and work analysis of the two development periods after the founding of the Republic of China combed the third chapter analyzed the Tibetan theme figure painting creative focus mainly summarized for highlighting the national spirit. 4th chapter through the work appearance, business layout, national color, and modeling language of the Tibetan theme figure painting were studied. Especially in the modeling language combined with their own in the period of master's creative practice to analyze. This paper explores the expressive methods of realism and freehand brushwork, and concludes that the creation process of figure painting should not only be meticulous in the "reality", but also in the "blank" management. In order to achieve the "overall good" artistic effect. Correctly handle the relationship between the two. Achieve "realistic" "freehand brushwork" At the end of the article, the author thinks and thinks about some phenomena existing in the field of Chinese figure painting on the Tibetan subject matter. First, the loss of the spirit of Chinese traditional culture; Second, the form of expression in the painting reflects a single style; The third is the lag between theoretical guidance and artistic practice.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212

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