發(fā)布時(shí)間：2018-07-03 03:40

  本文選題：線條 + 融合與碰撞��； 參考：《天津美術(shù)學(xué)院》2017年碩士論文

【摘要】：中國(guó)書(shū)畫(huà)經(jīng)過(guò)數(shù)千年的錘煉與發(fā)展,形成了特殊的以線造型的藝術(shù)表達(dá)方式。傳統(tǒng)工筆花鳥(niǎo)畫(huà)中線的重要性體現(xiàn)著我們東方繪畫(huà)的審美特征。中國(guó)書(shū)法又是線條的藝術(shù),二者有一共同點(diǎn)——線條。都是用線來(lái)表達(dá)內(nèi)心的藝術(shù)感受和對(duì)自然美的理解和概括。線從工筆花鳥(niǎo)畫(huà)的早期產(chǎn)生到獨(dú)立自成體系再到工筆花鳥(niǎo)畫(huà)的歷史高峰等,“線”自始至終都扮演著無(wú)法替代的重中之重的角色,書(shū)法自產(chǎn)生之時(shí)便是線條的獨(dú)角戲。對(duì)于“線條”選擇與運(yùn)用,也折射出中華民族傳統(tǒng)文化中的哲學(xué)思想和美學(xué)思想。自春秋戰(zhàn)國(guó)后毛筆的廣泛應(yīng)用,使線條的表達(dá)有了質(zhì)的飛躍,共同的“用筆”特性使書(shū)法的線條與中國(guó)畫(huà)的線條開(kāi)始出現(xiàn)融合與碰撞,二者不同的個(gè)性又互相補(bǔ)充著彼此的不足,互相借鑒,共同發(fā)展。中國(guó)傳統(tǒng)書(shū)畫(huà)正是由于線條的獨(dú)特表現(xiàn)力,才在世界藝術(shù)中獨(dú)樹(shù)一幟。二十世紀(jì)中國(guó)畫(huà)的發(fā)展歷程,是在熙熙攘攘的爭(zhēng)辯中探索新出路的過(guò)程,也就是在這種中西文化的交融,傳統(tǒng)與現(xiàn)代的碰撞中,工筆花鳥(niǎo)畫(huà)才逐步由復(fù)興到初步繁榮。在尋找和探索中拓展藝術(shù)的新面貌,但“歷史向前一步的發(fā)展,往往是伴著向后一步的探木求源�！敝挥兄哺诓┐蟮拿褡寰窈蛯�(duì)傳統(tǒng)的深入探究后,才能保持住它獨(dú)特的語(yǔ)言形式——線條,才能在保持中得以提純,在開(kāi)放和吸收中向前發(fā)展。
[Abstract]:After thousands of years of practice and development, Chinese calligraphy and painting have formed a special artistic expression with line modeling. The importance of the central line of the traditional fine brush flower and bird painting embodies the aesthetic characteristics of our oriental painting. Chinese calligraphy is the art of line, they have one thing in common-line. Are used to express the line of inner artistic feelings and natural beauty understanding and generalization. From the early stage of fine brushwork flower-and-bird painting to the independent system to the historical peak of fine brushwork flower-and-bird painting, "line" plays an irreplaceable important role from the beginning to the end, and calligraphy is the line monologue when it comes into being. The choice and application of line reflects the philosophical and aesthetic thoughts in Chinese traditional culture. Since the Spring and Autumn period and the warring States period, the extensive application of brush has made a qualitative leap in the expression of lines. The common characteristics of "using brush" make the lines of calligraphy and the lines of Chinese painting begin to merge and collide. The two different personalities complement each other's shortcomings, learn from each other, and develop together. Chinese traditional calligraphy and painting is unique in the art of the world because of the unique expression of lines. The development course of Chinese painting in the 20th century is the process of exploring a new way out in the bustling debate, that is, in the blending of Chinese and Western cultures, the collision between tradition and modern, the fine brushwork and bird painting gradually revives to the initial prosperity. In the search and exploration of the new face of art, but "the history of a step forward development, often accompanied by a step back to seek the source of wood exploration." Only when it is rooted in the broad national spirit and deeply explores the tradition, can it maintain its unique language form-line, be purified and develop in the course of opening up and absorbing.
【學(xué)位授予單位】：天津美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J212

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相關(guān)期刊論文 前3條

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本文編號(hào)：2092230