【作者】 刘丽；

【导师】 蒋世国；

【作者基本信息】 河北师范大学 ， 美术学， 2008， 硕士

【摘要】 从水墨人物画的发展历程来看,水墨人物画的“造型”从古代到现代发生了翻天覆地的变化,这可以说是一种历史的进步,也可以说是一种自我探索的结果。从水墨人物画诞生的第一天起,它本身就具有独立的价值意义和审美取向,纵观古代绘画的历史我们可以看出,水墨人物画出现的很晚,虽然有些形象概括、用笔奔放的绘画作品产生,但人物画基本还是以工笔画的面貌出现的,追求“以形写神”绘画思想,主张“以书入画”,画的用笔、线条的风格要与书法的风格相适应。从宋代的梁楷开辟了大写意的先河以后,水墨人物画开始得到发展。中国传统哲学的重“本源”轻“现象”的特性,也在传统水墨人物画中得到了极好的体现。受这种思想的影响,画家们追求的是“逸笔草草、不求形似”的造型方式。这种造型方式使形象更加简化概括,更能发挥“写”的功能,也更容易符合文人雅士们抒发感情的需要。西方造型观念和方式的融入,动摇了传统绘画的哲学基础,对传统的意识进行了改造,人们开始对长期处于独尊地位的旧文化和旧道德加以声讨。水墨人物画在创作过程中对人物形象的处理开始遭遇了新的挑战,体面造型开始代替以线为主的意象造型方式。古代的“不求形似”的造型品评观开始受到写实主义造型观念的冲击,这时出现了具象造型、抽象造型与意象造型的并存的局面,以徐悲鸿、蒋兆和为代表的许多有志之士开始试图用“中西交融”的写实主义造型方式来改造传统水墨人物画。水墨人物画发展到当代,人们开始注意到作画时抒发作者感情的重要性和对画面构成因素的把握,使水墨人物画的造型方式得到解放,西方的写实主义虽然加强了对“形”的深入刻画,但也带来了许多弊端,如造型“机械化”、“单一化”缺乏生动性等等,所以我们要深入理解水墨人物画的内在精神,既要对传统的意象造型有深刻的认识,又要辨正的吸收西方的写实和抽象主义造型因素。在现阶段,要正确处理好笔墨与造型的关系问题,使其保持住自身的笔墨趣味的同时又不会失掉造型的准确性。现当代的许多艺术家也开始对水墨人物画的造型问题提出更大的挑战,他们的探索也在水墨人物画的发展史中留下了深深的足迹。更多还原

【Abstract】 Through the developing course of washing figure painting, the sculpt of washing figure painting has changed greatly from ancient to modern, which can be said it is a historical progress, or a kind of self-exploring result.Washing figure painting from the first day of birth has an independent value of significance and aesthetic tropism. Through the history of Arcadian painting, we can see that washing figure painting appeared late. Though some paint which is visualized, generalized, and with untrammeled pen came into being,Finger painting emerged basically in the face of the fine brushwork, pursuing the painting ideology of“paint spirit with shape”, claiming“bring writing into paint”, the painting and style of line adapt to the style of writing. From LiangKai in Song dynasty inaugurating straightforward painting, washing figure painting begins to develop. Thinking much of substrate and despising phenomenon of Chinese traditional philosophy has a great embodiment in the traditional washing figure painting. With the affect of that ideology, painters pursue the style of sculpt which is“painting carelessly, not seeking similar in shape”. The style of sculpt makes the character sententious and general, exerting the function of“writing”greatly and easily according the demand of literati expressing their emotion.The amalgamation of western amalgamation and mode of sculpt, fluctuates the philosophy foundation of traditional painting, and reconstructs the traditional consciousness. People begin to condemn the old civilization and morality which is at an alone respect position. In the inditing process, washing figure painting begins to encounter a new challenge with the disposal to the character, the volume and surface sculpt begins to replace the imago sculpt mode with line. Archaic sculpt justice concept,“not being similar in shape”, begins to suffer concussion coming from the realism sculpt concept. At this time, there are representational sculpt, abstract sculpt and imago sculpt. As the representative of many person with lofty ideals, Xu Beihong and Jiang Zhaohe begin to attempt to use the realism sculpt mode with“Chinese and Western amalgamation”to reconstruct traditional washing figure painting.While washing figure painting runs to modern times, people begin to observe the importance of expressing their emotion when they are paintingAnd the grasp to the composing factors of menu, releasing the sculpt mode of washing figure painting. Although Western realism enhances the embedded depict to shape, it brings many abuses, such as mechanical, simplify, lack of vitality, etc. So we need to embed to understand intrinsic spirit of washing figure painting, having profound cognition to imago sculpt, as well as absorbing the Western realism and abstract sculpt factor dialecticly. Nowadays, we need to deal with the relation of washing and sculpt, makes it keep washing gusto of itself, at the same time, as well as not taking leave of veracity of sculpt. Many artists which are of the time and modern times begin to bring forward more great challenge to the sculpt problem to washing figure painting. Their exploring keep back deep footmark in the phylogeny of washing figure painting.更多还原