探析黄胄水墨人物画的艺术特色
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摘要
中国的水墨人物画是在传统绘画体系中最早产生最早趋于成熟并且逐渐完美的一种艺术形式,它在中国绘画史上占有相当重要的地位。而二十世纪中国画在人物画方面有着重要的突破,黄胄是对当代人物画创作的发展作出杰出贡献的画家,也是二十世纪中期以后中国影响最大的画家之一,在中国人物画史上是里程碑式的人物。
我们说,黄胄是中国现代人物画大师,主要是有以下几点原因：第一,在中国绘画史上,黄胄用史诗般的笔墨,成功的描绘了中华民族获得解放后人民的崭新生活与社会面貌,他的作品具有鲜明的时代特征,从而开辟了中国人物画发展的新阶段。第二,在绘画面貌上,黄胄始终遵循从生活出发的路线,用全新的笔墨形式,成功的创作了与传统人物画有所不同的,情景飞扬雅俗共赏的大量作品。第三,在绘画技法上,黄胄摆脱了之前中国人物画由临摹入门的传统模式,从写生到创作,提供了一个前无古人的人物画家成功的范例。第四,在绘画特色上,黄胄开辟了一条与众不同的崭新道路,在线条、色彩、构图、造型等各个方面用自己独特的艺术语言挥写出一幅幅举世流芳的成功作品。
本文就在于全面介绍贯穿黄胄一生的艺术活动,介绍了黄胄通过自己的不懈努力、不断追求,终于使现代中国人物画发展到了一个崭新的高度的历程。笔者首先介绍了黄胄与二十世纪的中国人物画坛格局,然后在此背景之下,主要从这样几个大的方面来逐一阐述其人物画的艺术特色：首先是从他水墨人物画创作的不同发展时期来说,分为早期、盛期和晚期三个方面：其次,是他从生活出发而造就的多种绘画风格,包括他鲜明的创作主题和全新独特的笔墨语言等各个不同的角度逐一展开论述；最后,也是尤其侧重的这一章,从他作品灵活多变的表现手法方面详细研究了他绘画的艺术特色,在线条、色彩、造型、构图、绘画意境和题材等各个方面来一一论述。从艺术道路的这个大线索出发,对他一生的水墨人物画创作过程做一个系统的阐述和总结,对黄胄的艺术轨迹进行详尽的追踪和探索。
China's Water ink character is produces in the traditional drawing system tends to be mature most early most early, and the perfect one kind of artistic form, it holds the quite important status gradually in the Chinese drawing history. But the 20th century traditional Chinese painting has the important breakthrough in the portrait aspect, Huang Zhou is the painter who makes the brilliant contribution to the contemporary portrait creation's development, also will be the mid-20th century later China affects one of biggest painters, in the Chinese portrait history was the milestone-like character.
We said that Huang Zhou is Chinese modern portrait master, mainly has the following several reasons:First, in the Chinese drawing history, Huang Zhou with the epic poem words, after the success description Chinese nation was liberated, people's brand-new life with the social appearance, his work had the bright historical characteristics, thus opened the Chinese portrait development new stage. Second, in the drawing appearance, Huang Zhou follows the route which throughout embarks from the life, with the brand-new words form, the success creation has differed from with the traditional portrait, the scene flies upwards the massive works which appeals to both cultured and popular tastes. Third, in the drawing technique, before Huang Zhou got rid, the Chinese portrait by the copy basic tradition pattern, from the sketch to the creation, has provided an unprecedented character painter's successful model. Fourth, in the drawing characteristic, Huang Zhou paved a out of the ordinary brand-new way, in the line, the color, the composition, the modelling and so on each aspect wields with oneself unique art language writes the successful work which a whole world leaves a good name to posterity.
This article lies in the comprehensive introduction to pass through the Huang Zhou life the artistic activity, introduced Huang Zhou through his unremitting efforts, pursues unceasingly, caused the modern China portrait to develop a brand-new high course finally. The author first introduced Huang Zhou and the 20th century's Chinese character painting world pattern, then under this background, mainly one by one elaborated its portrait artistic feature from such several big surface:First was from his water ink portrait creation different development time, divided into early, the prime season and the later period three aspects; Next, is he many kinds of drawing styles which embarks from the life accomplishes, and so on each different angle launches the elaboration one by one including his bright theme and the brand-new unique words language; Especially finally, is also this chapter which stresses, from his work flexible expression means aspect dissect his drawing's artistic feature, in the line, the color, the modelling, the composition, the drawing ideal condition and the theme and so on each aspect came 11 elaboration. Embarks from artistic path's this big clue, Water ink character creation process makes a system's elaboration and the summary to his life, carries on exhaustive tracing and the exploration to Huang Zhou's artistic path.
我们说,黄胄是中国现代人物画大师,主要是有以下几点原因：第一,在中国绘画史上,黄胄用史诗般的笔墨,成功的描绘了中华民族获得解放后人民的崭新生活与社会面貌,他的作品具有鲜明的时代特征,从而开辟了中国人物画发展的新阶段。第二,在绘画面貌上,黄胄始终遵循从生活出发的路线,用全新的笔墨形式,成功的创作了与传统人物画有所不同的,情景飞扬雅俗共赏的大量作品。第三,在绘画技法上,黄胄摆脱了之前中国人物画由临摹入门的传统模式,从写生到创作,提供了一个前无古人的人物画家成功的范例。第四,在绘画特色上,黄胄开辟了一条与众不同的崭新道路,在线条、色彩、构图、造型等各个方面用自己独特的艺术语言挥写出一幅幅举世流芳的成功作品。
本文就在于全面介绍贯穿黄胄一生的艺术活动,介绍了黄胄通过自己的不懈努力、不断追求,终于使现代中国人物画发展到了一个崭新的高度的历程。笔者首先介绍了黄胄与二十世纪的中国人物画坛格局,然后在此背景之下,主要从这样几个大的方面来逐一阐述其人物画的艺术特色：首先是从他水墨人物画创作的不同发展时期来说,分为早期、盛期和晚期三个方面：其次,是他从生活出发而造就的多种绘画风格,包括他鲜明的创作主题和全新独特的笔墨语言等各个不同的角度逐一展开论述；最后,也是尤其侧重的这一章,从他作品灵活多变的表现手法方面详细研究了他绘画的艺术特色,在线条、色彩、造型、构图、绘画意境和题材等各个方面来一一论述。从艺术道路的这个大线索出发,对他一生的水墨人物画创作过程做一个系统的阐述和总结,对黄胄的艺术轨迹进行详尽的追踪和探索。
China's Water ink character is produces in the traditional drawing system tends to be mature most early most early, and the perfect one kind of artistic form, it holds the quite important status gradually in the Chinese drawing history. But the 20th century traditional Chinese painting has the important breakthrough in the portrait aspect, Huang Zhou is the painter who makes the brilliant contribution to the contemporary portrait creation's development, also will be the mid-20th century later China affects one of biggest painters, in the Chinese portrait history was the milestone-like character.
We said that Huang Zhou is Chinese modern portrait master, mainly has the following several reasons:First, in the Chinese drawing history, Huang Zhou with the epic poem words, after the success description Chinese nation was liberated, people's brand-new life with the social appearance, his work had the bright historical characteristics, thus opened the Chinese portrait development new stage. Second, in the drawing appearance, Huang Zhou follows the route which throughout embarks from the life, with the brand-new words form, the success creation has differed from with the traditional portrait, the scene flies upwards the massive works which appeals to both cultured and popular tastes. Third, in the drawing technique, before Huang Zhou got rid, the Chinese portrait by the copy basic tradition pattern, from the sketch to the creation, has provided an unprecedented character painter's successful model. Fourth, in the drawing characteristic, Huang Zhou paved a out of the ordinary brand-new way, in the line, the color, the composition, the modelling and so on each aspect wields with oneself unique art language writes the successful work which a whole world leaves a good name to posterity.
This article lies in the comprehensive introduction to pass through the Huang Zhou life the artistic activity, introduced Huang Zhou through his unremitting efforts, pursues unceasingly, caused the modern China portrait to develop a brand-new high course finally. The author first introduced Huang Zhou and the 20th century's Chinese character painting world pattern, then under this background, mainly one by one elaborated its portrait artistic feature from such several big surface:First was from his water ink portrait creation different development time, divided into early, the prime season and the later period three aspects; Next, is he many kinds of drawing styles which embarks from the life accomplishes, and so on each different angle launches the elaboration one by one including his bright theme and the brand-new unique words language; Especially finally, is also this chapter which stresses, from his work flexible expression means aspect dissect his drawing's artistic feature, in the line, the color, the modelling, the composition, the drawing ideal condition and the theme and so on each aspect came 11 elaboration. Embarks from artistic path's this big clue, Water ink character creation process makes a system's elaboration and the summary to his life, carries on exhaustive tracing and the exploration to Huang Zhou's artistic path.
引文
[1]邓福星,黄兰中国美术[M].北京：北京文化艺术出版社,1999.
[2]杨成寅,石涛画学[M].陕西：陕西师范大学出版社,2008.
[3]毕继民,传统文化与中国人物画[M].北京：中国文史出版社,2006.
[4]梅墨生,现代中国书画研究[M].陕西：陕西人民美术出版社.
[5]黄胄,黄胄书画论[M].北京：荣宝斋出版社,2004.
[6]张少康,古典文艺美学论稿[M].北京：中国社会科学出版社,1988.
[7]林墉,刘国辉,等.当代中国画家笔谈丛书——谈笔墨[M].广东：岭南美术出版社,2007.
[8]戴敦邦,画外之言[M].上海：上海书店出版社,2007.
[9]王学仲,中国画学谱——中国画的基础理论与技法[M].北京：新世界出版社,2007.
[10]韩玮,中国画[M].北京：高等教育出版社,2002.
[11]人物技法——画家创作经验谈[M].北京：人民美术出版社,1981.
[12]姜今,画境—中国画构图研究[M].湖南：湖南美术出版社,1982.
[13]梁洪涛,中国画人物技法月讲[M].上海：上海科技教育出版社,1990.
[14]炎黄艺术馆编,黄胄研究[M].北京：北京工艺美术出版社,1999.
[15]高宗英,谈绘画构图[M].山东：山东人民出版社,1983.
[16]郭因,中国绘画美学史稿》[M].北京：人民美术出版社,1981.
[17]郑闻慧主编,黄胄谈艺术[M].北京：中国青年出版社,1998.
[18]郑闻慧主编,黄胄研究文集[M].河北：河北教育出版社,2005.
[19]黄胄,黄胄作品集[M].河北：河北教育出版社,2005.8
[20]孔新苗,二十世纪中国绘画美学[M].山东：山东美术出版社
[21]吕澎,二十世纪中国艺术史[M].北京：北京大学出版社
[22]陈传席,中国绘画美学史[M].北京：人民美术出版社,2000.
[23]陈传席,中国绘画理论史[M].台湾：台湾三民书局,1996.11
[24]宗白华,美学散步[M].上海：上海人民出版社,1981.6
[25]黄丹麾,美术与悟性[M].辽宁：辽宁美术出版社,2000.10
[26]李泽厚,美的历程[M].北京：文物出版社,1988.7
[27]宗白华,艺境[M].北京：北京大学出版社,1986.6
[28]张光福,中国美术史[M].北京：知识出版社,1982.11
[29]葛路,中国绘画美学范畴体系[M]. 广西：漓江出版社,1989.1软荣春
[30]阮荣春,中国绘画通论[M].南京：南京大学出版社,2005.7
[31]徐复观,中国艺术精神[M].广西：广西师范大学出版社,2007.10
[2]杨成寅,石涛画学[M].陕西：陕西师范大学出版社,2008.
[3]毕继民,传统文化与中国人物画[M].北京：中国文史出版社,2006.
[4]梅墨生,现代中国书画研究[M].陕西：陕西人民美术出版社.
[5]黄胄,黄胄书画论[M].北京：荣宝斋出版社,2004.
[6]张少康,古典文艺美学论稿[M].北京：中国社会科学出版社,1988.
[7]林墉,刘国辉,等.当代中国画家笔谈丛书——谈笔墨[M].广东：岭南美术出版社,2007.
[8]戴敦邦,画外之言[M].上海：上海书店出版社,2007.
[9]王学仲,中国画学谱——中国画的基础理论与技法[M].北京：新世界出版社,2007.
[10]韩玮,中国画[M].北京：高等教育出版社,2002.
[11]人物技法——画家创作经验谈[M].北京：人民美术出版社,1981.
[12]姜今,画境—中国画构图研究[M].湖南：湖南美术出版社,1982.
[13]梁洪涛,中国画人物技法月讲[M].上海：上海科技教育出版社,1990.
[14]炎黄艺术馆编,黄胄研究[M].北京：北京工艺美术出版社,1999.
[15]高宗英,谈绘画构图[M].山东：山东人民出版社,1983.
[16]郭因,中国绘画美学史稿》[M].北京：人民美术出版社,1981.
[17]郑闻慧主编,黄胄谈艺术[M].北京：中国青年出版社,1998.
[18]郑闻慧主编,黄胄研究文集[M].河北：河北教育出版社,2005.
[19]黄胄,黄胄作品集[M].河北：河北教育出版社,2005.8
[20]孔新苗,二十世纪中国绘画美学[M].山东：山东美术出版社
[21]吕澎,二十世纪中国艺术史[M].北京：北京大学出版社
[22]陈传席,中国绘画美学史[M].北京：人民美术出版社,2000.
[23]陈传席,中国绘画理论史[M].台湾：台湾三民书局,1996.11
[24]宗白华,美学散步[M].上海：上海人民出版社,1981.6
[25]黄丹麾,美术与悟性[M].辽宁：辽宁美术出版社,2000.10
[26]李泽厚,美的历程[M].北京：文物出版社,1988.7
[27]宗白华,艺境[M].北京：北京大学出版社,1986.6
[28]张光福,中国美术史[M].北京：知识出版社,1982.11
[29]葛路,中国绘画美学范畴体系[M]. 广西：漓江出版社,1989.1软荣春
[30]阮荣春,中国绘画通论[M].南京：南京大学出版社,2005.7
[31]徐复观,中国艺术精神[M].广西：广西师范大学出版社,2007.10
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