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研究写意写意论

发布时间: 2008-10-5


预读:于弘扬中国传统文化,特别是对适应当前世界范围内的文化交流,具有极其重要的现实作用。与此同时,本论文亦探讨探讨了写意精神中蕴含的生命美学价值,指出写意精神是世界艺术进展所共同追寻的最终方向与目标,不论是中国艺术进展的一脉相承还是西方进展的曲折回转,最终都将归于写意,写意艺术具有无限的创造空间与生命力。以一点上研究写意写意论
论文中文摘要:本论文所论之“写意”是指中华民族传统文化艺术中所贯穿延续的一种写意精神,与中国画中所说的写意画的技法概念并非一题。写意精神体现在中国艺术的方方面面。中国的诗词、戏曲、建筑、园林等都具有鲜明的写意艺术特点。本论文主要以造型艺术视角对中国艺术的写意精神进行了探讨。文中对写意精神的概念作了界说与溯源;对写意精神的进展历程按时间顺序作了纵向梳理。笔者认为,中国造型艺术中的写意精神,随着人类历史进展呈现出一个又一个高峰,推动了艺术长河的不断进展。如果说岩画和彩陶尚且保留着人类与生俱来的延迟模仿记忆思维,那在商周时期的青铜器就已经成为有意而为之的艺术造型的实践体验。随后唐、宋、元、明、清的卷轴画,在论述与实践上更是极大程度地进展了写意精神。特别是明清时期中国画中的写意画,更当堪称体现写意精神的艺术典范。宣纸材质的特殊媒介,加大了书画历程中的不可预见性与随机性,造成作品的无限丰富性与不可复制性,为作画追求画外意,讲究无法中有法提供了物质基础,为造型艺术写意精神的发挥创造了更大空间。文中涉及的历史文献包括历代文论、书论、画论中关于“写”、“意”以及“写意”的论说,以及艺术创作者与艺术作品、艺术论述的相关资料。进而挖掘写意精神的实质思想作用——“写意”,是中国造型艺术长期坚持的艺术审美倾向和创作策略,并以此形成了一整套完备的写意审美论述。特别是中国传统绘画中的写意审美观念,贯穿于功能论、创作论、品评论、主题论等各领域层面。由此我们可以看到渗透其中的中国造型艺术的写意精神,更可以掌握中国造型艺术中一个系统完备的写意观念。本论文对写意论述历史、系统的梳理之后,回顾了中国近200年来的美术进展历程,对照搬西方方式的艺术系统提出质疑。借古开今,指出近现代中国美术进展背离写意精神的一些不足,并为中国美术进展提出可供参考的倡议。笔者认为,写意精神是中国艺术的重要特点之一,探讨、肯定并确立中国自有的优秀的写意艺术论述系统,对于弘扬中国传统文化,特别是对适应当前世界范围内的文化交流,具有极其重要的现实作用。与此同时,本论文亦探讨探讨了写意精神中蕴含的生命美学价值,指出写意精神是世界艺术进展所共同追寻的最终方向与目标,不论是中国艺术进展的一脉相承还是西方进展的曲折回转,最终都将归于写意,写意艺术具有无限的创造空间与生命力。以一点上讲,写意是中国的,也是世界的,它具有世界作用。

【English Abstract】 "Freehand" discussed in this paper refers to the art spirit through the continuation of traditional Chinese culture and arts, and does not mean the techniques of freehand brushwork in Chinese painting ,and they are not the same concept.The spirit of freehand is reflected in all aspects of Chinese art. Chinese poetry, drama, architecture, gardens and so on have a distinct tendency to the freehand art. In this paper, the spirit of Chinese art freehand are studied from the perspective of the plastic arts.The paper introduces the definition and history of the spirit of freehand; and puts the development of the spirit of freehand in chronological order . The author bepeves that the spirit of freehand in Chinese plastic art, has shown one after another peak and promoted the continuous development of art with the development of human history.If the rock paintings and pottery retained the inherent thinking of delay imitation in the human memory, then bronze in the Shang and Zhou dynasties has done much practical experience in the art form intentionally.The Tang, Song, Yuan, Ming and Qing’s scroll paintings have developed the spirit of freehand to a great extent in theory and practice,Followed by scroll painting, is to. Especially the freehand brushwork in the Ming and Qing Dynasties even embodied the spirit of the art of freehand. China paper, as the special media of material, has increased the unpredictabipty and randomness of the process of painting , and resulted in the unpmited richness and non-copy nature of work. China paper , has offered the materials for the image exceeding the painting and the unfixed principle , and created more space for the freehand spirit of the plastic arts.The pteratures involved in this paper include the theory on the "paint", "image" and "freehand" in ancient pterature criticism, calpgraphic theory, painting theoryand , as well as relevant information on artists and art works . And then this paper explores the essence of the spirit of freehand——"freehand", is aesthetic tendencies and creative methods in the long-standing Chinese plastic art. and thus forms a complete set of freehand aesthetic theory.In particular, the aesthetic concept of freehand in traditional Chinese painting has impenetrated throughout the all fields of Theory of Art Function, Creation Theories,Assessment Theories, theme Theories.From this we can see the spirit of freehand penetrating in the plastic arts of China, also master a complete and

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