文档介绍：新疆师范大学
硕士学位论文
从意象造型谈中国当代油画风景的写意性
姓名:王同春
申请学位级别:硕士
专业:美术学
指导教师:刘建新
2010-06-10
中文摘要
中国油画风景在当前的绘画表达中,绘画方式越来越呈现出借鉴传统山水
画造型精神,一种写意性文人精神品格的倾向。在艺术创作上畅神写意,强调
艺术的一种人文情怀。这种绘画造型方式不同于西方侧重直观的模拟自然物象,
刻意求形似、求全、求细,而是在于着重利用即简约又含蓄的中国画语言形式
去表达尽可能多的意味。如,八大山人画一尾小鱼,空灵自在于画幅正中,四
周皆白,然令人觉得满纸皆水。传统戏曲,四个龙套代替了千军万马,一根马
鞭,几圈圆场可以表现驰聘千山万水,他们给观众提供了无限广阔的想象力和
审美空间。我发现,将“写意”融入油画风景的创作中,是中国许多油画家挥
之不去的情节。这种绘画方式积淀了民族的审美心理,从而形成了特有的审美
文化。从东晋顾恺之主张“迁想妙得,神形兼备”。唐代张彦远指出“夫失于自
然而后神……。自然者,上品为上”。到宋代苏东坡“观士人画如阅天下马,取
其意气所到”。他们都一致反对谨细入微的刻画,倡导遵循大宇宙阴阳开合、虚
实相生而又复归于自然意象的超脱表现。在中国这种传统文化的潜移默化的影
响下,油画风景这一绘画外在形式,在艺术绘画风格以及绘画审美情趣的追求
上,越来越主动在东方直觉感性中去把握西方理性绘画经验,以求达到本民族
“以意构境、以意造型、以意生色、以意抒写”的传统审美理想。
本文试从“意象造型”美学入手,通过中国山水绘画与文人精神品格游离
其间的分析,着重对“写意”的书写性美学风格移接到油画风景创作中,如何
从中国传统文化中吸取精神,而形成自己的美学特色而作出解析。
关键词:意象造型; 文人画;油画风景;写意性
I
导言
Abstract
Chinese oil painting landscape paintings in the current expression,are
increasingly showing a freehand drawing mode of orientation, a literary spirit of the
character, and artistic creation Cheong God the arts as a
humanistic feelings. This approach is different from the Western focus on visual art
simulation of natural physical image, deliberately seeking shape, perfection, seeking
small,but rather focus on the use of the simple Chinese painting has a subtle form of
language to express as much as possible means, such as Ba Da Painting a small fish
Emptiness is the frame from the middle,surrounded by all white, ran the impression
that all the water Manzhi. Traditional opera, the four bit-part player instead of
millions of soldiers and a whip,a few laps can be expressed Chipin rounders
thousands of miles,they gave viewers an infinite vast space for imagination and
aesthetic,I found the "freehand" into the landscape painting of the creation of the
Chinese oil painting at home in many lingering traditional Chinese culture,
imperceptibly under the influence of Chinese oil painting landscape art pursuit, more
and