論“線”在現(xiàn)當(dāng)代中國山水畫中的表現(xiàn)
發(fā)布時(shí)間：2018-11-03 11:21
【摘要】：“線”在中國山水畫中的重要地位是毋庸置疑的。它作為最基本的繪畫造型語言在中國山水畫中運(yùn)用,不僅可以達(dá)到狀物的目的,而且也以藝術(shù)化的手段揭示出物象的性狀情態(tài),體現(xiàn)了山水畫家對客觀形象的概括、提煉和理解能力；也體現(xiàn)了畫家們表現(xiàn)物象的能力。中國畫“以線造型”的繪畫樣式,由線條構(gòu)成最簡單的藝術(shù)樣式,這與老子的“道生一、一生二、二生三、三生萬物”的哲學(xué)思想是相契合,潘天壽有這樣的闡述：“畫事用筆,不外點(diǎn)、線、面三者”,石濤也在他畫論中寫道：“一畫者,眾有之本,萬象之根,見用于人,藏用于人……”,“借筆墨以寫天地萬物而淘泳乎我也,”進(jìn)一步證明了線所具有的抒情寫意性,由于畫家在運(yùn)筆中出現(xiàn)的各種變化,使線條自身具有了千變?nèi)f化的形式。一方面,線條豐富多姿的形態(tài)可以喚起欣賞者對現(xiàn)實(shí)生活的萬般物象中類似物體形態(tài)美的聯(lián)想,使抽象的線條成為現(xiàn)實(shí)事物形體美的一種間接曲折的反映。另一方面,畫家在運(yùn)筆過程中的個(gè)人情緒、意趣、思想的灌注,使得中國畫中的線條具有明顯的畫家個(gè)性特征,達(dá)到抒情、暢神、寫意的作用,進(jìn)而表現(xiàn)畫家的審美理想、氣質(zhì)、心靈、品格,這就是常人所說的“畫如其人”。 在現(xiàn)當(dāng)代中國山水畫中,要在繼承傳統(tǒng)的基礎(chǔ)上創(chuàng)新“線”語言。但由于中國山水畫及其“線”語言的發(fā)展正歷經(jīng)數(shù)千年的歷史,有著深厚的歷史根源和文化積淀,要跳出傳統(tǒng)禁錮并在此基礎(chǔ)上創(chuàng)造新的“線”語言,有著相當(dāng)大的難度。但現(xiàn)當(dāng)代畫家如黃賓虹、潘天壽、張仃、陸儼少等卻在既囿于傳統(tǒng)又不離于傳統(tǒng)的前提下創(chuàng)新了“線”語言,并成一家,成為后世學(xué)習(xí)的典范。這也為現(xiàn)當(dāng)代山水畫家在新的時(shí)代背景下創(chuàng)新“線”語言提供了可能和新的發(fā)展方向。繼承傳統(tǒng)又不僅是繼承傳統(tǒng)的技法,更是繼承傳統(tǒng)的文化和精神思想；創(chuàng)新“線”語言應(yīng)棄傳統(tǒng)中的糟粕,取傳統(tǒng)之精華,同時(shí)也要做到擴(kuò)大視野,有選擇地吸收新時(shí)期中益于山水畫“線”語言創(chuàng)新的因子,在新時(shí)代背景下,賦予中國山水畫“線”語言新的生命力,進(jìn)一步鞏固“線”語言在中國山水畫中的核心地位。
[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.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212
本文編號：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.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J212
【參考文獻(xiàn)】
相關(guān)期刊論文 前3條
1 郭磊;;20世紀(jì)90年代以來水墨畫的現(xiàn)代性困境[J];美術(shù)研究;2009年03期
2 喬念祖;;《石濤畫語錄》對后人的影響——淺談黃賓虹的山水畫變革[J];時(shí)代文學(xué)(上);2010年03期
3 葉三寶;;黃賓虹的山水畫風(fēng)及其鑒定[J];浙江工藝美術(shù);2001年01期
，本文編號：2307635
本文鏈接：http://www.sikaile.net/wenyilunwen/huihuayishu/2307635.html
教材專著
