论传统水墨人物画笔墨语言当代转化毕业论文.doc

论传统水墨人物画笔墨语言的当代转化姓名：李芳专业：美术学导师：肖舜之教授研究方向：中国画创作与理论研究年级：2007 级中文摘要中国传统水墨人物画从五代时期有了初步发展，至明清两代趋于成熟到了二十世纪，随着西方绘画观念、画种、技法大量进入，带来了中国画迅猛发展，同时，也给中国水墨人物画造成了极大的冲击西方绘画讲科学，提倡写实主义，同中国水墨人物画讲意境，尚神韵的思想形成极大的反差而且，在画面视觉效果的真实性与冲击力方面，中国传统水墨人物画也远不如西画来的强烈因此，一些接受了西方绘画思想，具有前瞻眼光的画家提出了对中国传统水墨人物画的发展与改良的口号康有为、徐悲鸿是主要代表，尤其是徐悲鸿，他不仅提出改革的口号和措施，而且身先力行，把传统水墨人物画推动、发展到一个崭新的阶段一方面是在形体的表现方法上，他吸取、借用了西方的造型观念和手法，用科学的解剖、透视方法，取代了传统水墨人物画中的尚意、尚神，而忽略客观形态的描绘方式另一个方面，在技法上他以传统水墨语言为基础，大胆借用西方绘画中的技法因素，弥补、丰富了传统水墨人物画技法在表现现实生活人物中的贫乏与不足85新思潮后的水墨人物画从西方现代主义中大胆的吸取了符号化的表现，并借此冲破了现实主义的表现手法，重新审视对中国传统水墨精神的回归。

水墨人物画在借鉴西方艺术的潮流上已经不局限于手法上的科学的写实，更多的是借鉴西方当代的绘画观念和形式表现型水墨人物画就是在这样的背景下应运而生，表现型水墨人物画家将水墨材料工具的特性作为出发点，以其独特的视角和带有个性化的笔墨语言，表达着自己对当下社会的体验和感受他们注重研究绘画的本体性，注重探寻艺术的本质，注重关注自我和当下生活，探索着更广阔的视角，从而促进着中国水墨人物画的发展本文就是沿着这样一个大的思路来探讨水墨人物画笔墨语言在当代的转化本文主要从水墨人物画笔墨语言层面进行探讨，全文共分为三大部分，引言、主体部分和结语部分引言部分主要论述问题的提出、选题依据、研究意义和研究方法论文主体部分探讨了传统水墨人物画笔墨语言向当代转化的原因、必然性，并结合画家个案分析传统水墨人物画笔墨语言转化后的特点，阐述了在创作实践中如何实现传统笔墨语言向当下的转化本部分共分为五章第一章论述传统水墨人物画笔墨语言的特点，首先概括传统水墨人物画笔墨语言的历史发展综述，再结合发展的脉络详细论述传统水墨人物画的意象造型、书法用笔的特点第二章直接切入主题探讨传统水墨人物画笔墨语言向当代的转化，论述转化的原因以及徐悲鸿、蒋兆和等艺术家们在写实性笔墨语言方面的探索，最后得出审美理念的不同导致笔墨语言表现的差异的结论。

第三章论述了转化后当代水墨人物画发展的现状，笔墨语言呈“多元化”发展的格局，以及对当代水墨人物画笔墨语言发展趋势的思考，保持民族艺术特色、融合吸收外来艺术，探索新的笔墨语言和表现形式文章第四章结合有代表性画家的案例分析传统水墨人物画笔墨语言在当代新的表现特点第五章论述在创作实践中如何实现传统笔墨语言向当下的转化在明白传统的笔墨要运用到现当代人物画创作中来，就必须要结合画家自身的情况进行转化，所以在这里结合自己的一点创作体会分三点进行论述，首先临摹传统笔墨、认知传统笔墨的精髓，其次要在写生实践中实现笔墨语言的转化，把自然当中的人物形象通过笔墨转化成艺术形象，最后在创作实践中建构自我笔墨语言的独特性结语部分再次阐明论点，交待本文的研究结论探讨传统水墨人物画笔墨语言的当代转化，理清水墨人物画发展的现状，能帮助我们更清楚的认识到当下的画家在传统的基础上做出的尝试和创新，了解到中国水墨人物画发展的走向；对水墨人物画的笔墨语言层面进行研究,则能丰富自己的绘画表现技法，有利于在水墨人物画创作实践中更自由表达自己的创作理念，具有积极的现实意义关键词：水墨人物画；笔墨语言；转化；当代Ink Figure Painting of the traditional language of the contemporarytransformationAuthor: Li FangSupervisor: Professor Xiao ShunzhiMajor: Creation and Theory of Chinese PaintingSubject: Fine artsGrade:2007AbstractFive traditional Chinese ink figure painting from an initial development period to the Mingand Qing dynasties mature. The twentieth century, with the idea of Western painting, painting,techniques have entered, brought rapid development of Chinese painting, the same time, theChinese ink figure painting caused great impact. Western painting, talking about science, topromote realism, speaking in Chinese Figure Painting with conception, the idea is still charm insharp contrast. Moreover, the authenticity of the picture visual effects and impact, the Chinesefigure painting far better than traditional ink paintings to the strong west. Therefore, someaccepted ideas of Western painting, the artist has made forward-looking vision on thedevelopment of traditional Chinese ink figure painting slogans and improved. Kang, Xu Beihongis the main representative, in particular, Xu Beihong, he not only put forward the slogan ofreform and measures, and the first body to exercise, to promote traditional ink figure painting, toa new stage. On the one hand is a form of expression, he learned, borrowed Western ideas andpractices modeling, scientific anatomy, perspective method to replace the traditional ink figurepainting is still in Italy, is still God, but ignore the objective of describing way. Another aspect ofthe technique on his traditional language-based ink, boldly borrowed elements of Westernpainting techniques in make up and enrich the traditional ink figure painting techniques in theperformance of real-life characters in the poor and inadequate.85 new ideas ink figure after the lessons from the Western modernist symbol of freedom ofexpression, and to break through the performance of the realistic approach to re-examine thespirit of traditional Chinese ink return. Figure Painting in the drawing has been the trend ofWestern art is not limited to the scientific realist approach, more of a contemporary painting fromWestern concepts and forms. Performance-based ink figure painting is in this background cameinto being, performance-based ink character artist will ink the characteristics of material tools asa starting point, with its unique perspective and with a personalized pen language, expressingthemselves on the contemporary society experiences and feelings. They focus on the ontology ofpainting, focusing on exploring the nature of art, focusing on self-interest and the present life,exploring a broader perspective, so as to promote the development of Chinese Figure Painting.This is a great idea along to Ink Figure Painting of the transformation in the contemporarylanguage.In this paper, ink from the ink portraits of language levels, the full text is divided into threeparts, introduction, main part and conclusion part.Introduction discusses some of the major issues raised, topics based on researchsignificance and research methods. This paper is part of th。