文采心生
摘要
中国工笔人物画是我国传统绘画的一种艺术表现形式,其中纹饰图案的发展和变化承载了历代画家深厚的思维精华。国内外研究学者开始关注工笔人物画纹饰图案中人文精神问题且一直都在研究。而本文从作者自己的观点和立场出发,重点研究了历代中国工笔人物画作纹式图案的运用及演变中人文因素的形成和影响。从纹饰图案造型、线条、色彩等方面深刻论述工笔人物画纹饰图案于中华文明开端就凸现了与西方不同的思维方式,剖析其中的审美观和审美取向所体现的人文内涵。论述工笔人物画纹式图案的创作观念、发展方向、风格特色;论述纹饰图案具有社会审美属性,画家作为个体的人,必定受到所处时代的审美观的影响,一般不可能完全超越脱离时代;论述纹饰图案是画家个人审美心里的表现,画家生活环境的变化、心境和喜好都会影响作品的情调。并结合毕业创作论述自己对工笔人物画纹饰图案中人文精神的理解。研究纹饰图案所蕴含的人文精神对我国绘画美学史有着重要的意义。
Traditional Chinese realistic figure painting is an artistic form and expression of traditional drawing in our country. In it, the development and the change of design on utensils contain the quintessence of artists' thought of successive dynasties. Researchers both in our country and abroad begin to pay close attention to the humanistic spirit in design on utensils in traditional Chinese realistic figure painting, and research concerning this would be done continuously from the beginning. The thesis proceeds from the writer's own viewpoint and position, and researches with emphasis on the formation and influence of humanistic elements in the employment and evolution of design on utensils in traditional Chinese realistic figure painting in past dynasties. It makes deep-going analysis of the design on utensils from the aspects of mold-making, line in painting, color and so on, which reflects from the beginning of Chinese civilization a thinking style different from western world. It also excavates the humanistic connotation reflected by the aesthetic sense and aesthetic orientation in it. Generally, the thesis discusses the creative conception, developing direction and the stylistic feature of the design on utensils in traditional Chinese realistic painting; it asserts that the design on utensils has social aesthetic attribute, the painter as an independent individual, must be influenced by the aesthetic conception of the time he belongs to, it is hard for him to exceed his time; the thesis is the manifestation of the painter's personal aesthetic value: the change in the living environment , the state of mind, and the fancy of the painters, all these would influence the tone and mood of the works. In a word, the thesis discusses in connection with graduate creation the writer's own understanding of the humanistic spirit in the design of utensils in traditional Chinese realistic figure painting. The research on humanistic spirit endowed in the design on utensils has great significance for the history of aesthetics in our country.
Traditional Chinese realistic figure painting is an artistic form and expression of traditional drawing in our country. In it, the development and the change of design on utensils contain the quintessence of artists' thought of successive dynasties. Researchers both in our country and abroad begin to pay close attention to the humanistic spirit in design on utensils in traditional Chinese realistic figure painting, and research concerning this would be done continuously from the beginning. The thesis proceeds from the writer's own viewpoint and position, and researches with emphasis on the formation and influence of humanistic elements in the employment and evolution of design on utensils in traditional Chinese realistic figure painting in past dynasties. It makes deep-going analysis of the design on utensils from the aspects of mold-making, line in painting, color and so on, which reflects from the beginning of Chinese civilization a thinking style different from western world. It also excavates the humanistic connotation reflected by the aesthetic sense and aesthetic orientation in it. Generally, the thesis discusses the creative conception, developing direction and the stylistic feature of the design on utensils in traditional Chinese realistic painting; it asserts that the design on utensils has social aesthetic attribute, the painter as an independent individual, must be influenced by the aesthetic conception of the time he belongs to, it is hard for him to exceed his time; the thesis is the manifestation of the painter's personal aesthetic value: the change in the living environment , the state of mind, and the fancy of the painters, all these would influence the tone and mood of the works. In a word, the thesis discusses in connection with graduate creation the writer's own understanding of the humanistic spirit in the design of utensils in traditional Chinese realistic figure painting. The research on humanistic spirit endowed in the design on utensils has great significance for the history of aesthetics in our country.
引文
1、《The story of art》E.H.GOMBRICH
2、《美的历程》李泽厚著 天津社会科学出版社 2001年
3、《中国美学重要文本提要》王振复著 四川人民出版社 2003年
4、《中国艺术精神》徐复观著 华东师范大学出版社 2001年
5、《中国绘画美学史》陈传席著 人民美术出版社 2002年
6、《陈洪绶研究》裘沙著 人民美术出版社 2004年
7、《中国美术简史》北京中国出版社 2002年
8、《中国美术史论集》金维诺著北京人民出版社 1981年
9、《士人心像》北进文物出版社 2005年版
2、《美的历程》李泽厚著 天津社会科学出版社 2001年
3、《中国美学重要文本提要》王振复著 四川人民出版社 2003年
4、《中国艺术精神》徐复观著 华东师范大学出版社 2001年
5、《中国绘画美学史》陈传席著 人民美术出版社 2002年
6、《陈洪绶研究》裘沙著 人民美术出版社 2004年
7、《中国美术简史》北京中国出版社 2002年
8、《中国美术史论集》金维诺著北京人民出版社 1981年
9、《士人心像》北进文物出版社 2005年版
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