文档介绍：摘要
在人物画中面部表情的塑造对整体艺术形象发挥着巨大的作用,有内容有深度的表情才能给人以想象和思考的空间。纵观自古至今的工笔人物画作品,不难发现这样一种现象:不管是身穿宽大衣袍的古代人物形象,还是充满时代气息的当代人物绘画, 人物的面部表情基本上都呈现出一种“无表情”表情。“无表情”表情的普遍性以及成为普遍现象的原因是值得去探究的问题,本项研究能够加深对工笔人物画的理论认识,并会对当代工笔人物画的创作起到一定的促进作用。
本课题就当代工笔人物画中的人物表情进行研究,主要从当代工笔人物画中查找和搜集各种各样的人物表情进行分析,并以“无表情”表情作为本文的重要内容和创新点来探讨。通过归纳梳理具有代表性的当代工笔人物画,从工笔人物画的主要表现形式偏写实造型创作和偏意象造型创作两大类型入手,对何家英、罗寒蕾、王冠军、陈子、唐勇力以及张见等人的作品做深入分析,论述人物的面部表情与整幅画面的关系,探究不同人物的面部表情背后的审美内涵。接下来再从艺术的时代性因素、美术课堂教学、画面本身的和谐需求等方面探究当代工笔人物画“无表情”表情产生的深层次原因。本课题还从审美心理学的角度对绘画者本人和欣赏者进行一个审美因素的探析,以揭示这一现象经久不衰的主观方面的原因,并试图总结归纳当代工笔人物画的创作过程中画家本人的心理状态以及欣赏者对这种“无表情”表情的认同感。最后得出结论,在看似单一的“无表情”表情之下实则有着丰富的表情内涵,这种带有审美倾向性的“无表情”表情更能引发观者心灵的触动和无限的联想。
关键词:无表情;当代工笔人物画;审美倾向;审美心理
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Abstract
Facial expressions in figure painting shape on the whole artistic image plays a huge role, there was an expression of content have depth to give a person with imagination and thinking space. Throughout since ancient times, the fine brushwork figure painting works, it is not difficult to find such a phenomenon: whether it's wearing a garment of ancient characters, or contemporary figure painting full of modern flavor, character's facial expression basically all presents a \"neutral\" expression. The universality of \"neutral\" expression and e mon phenomenon reason is an issue worth exploring, the study of contemporary fine brushwork figure painting creation also will have certain theoretical significance.
This topic is to study the characters in modern fine brushwork figure painting expression, mainly from the contemporary fine brushwork figure painting to find and collect all kinds of characters in the expression is analyzed, and using the \"neutral\" expression as the important content and the innovation point of this article to discuss. bing the typical modern fine brushwork figure painting, from the major form of fine brushwork figure painting realistic model creation and partial image modelling create two types of the He Guying, Luo Hanlei, Wang Guanjun, Anthony refrained, Tang Yo