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高卉民先生写意画之写与意

Writing and Implication of Freehand Brushwork of Prefessor Gaohuimin

作者: 专业:美术学 导师:高卉民 年度:2010 学位:硕士  院校: 哈尔滨师范大学

Keywords

Writing, Implication, Freehand Brushwork, Personality and Emotion, Calligraphy and Painting Homology

        就中国画而言,写意是本质,是精髓,写意既是形式又是内涵,总之,谓之中国画总是不能远离这一核心,是“天人合一”的哲学理念之物化,是中华民族文化之优良传统,是其最为显著的特征,语言形式风格而论,有工笔与意笔,意笔中有大写小写之分。大写小写,写有其度,意却无限。过小乃工,超大纯抽象。相对而言,意笔既重意又重笔,大写意更重意,更重笔。率笔写意,重写尚意。写意才情,秉赋,学识,修养,功力,非高而不能为,写为法,法为书,法有规律,法有尺度,法有审美,非写不可,书写抒写是笔情艺术。当今中国画坛一个既具有地域性又具有当代性的花鸟画派——“塞北花鸟画派”正在崛起,它的核心人物是高卉民教授。高卉民的塞北花鸟画探索从上个世纪七十年代末到现在已三十年有余了,已经成为蜚声全国的花鸟画大家。所谓“塞北花鸟画”即是以黑龙江这个塞北地域的自然环境中的山禽野卉为题材的花鸟画。黑龙江地处高塞地区,有许多未被传统花鸟画涉猎的描绘对象,挖掘个地域特有的艺术题材,拓宽花鸟画表现领域,对于一个艺术家形成独特的艺术个性和独特的艺术风格,提供了客观的基础,无异从内容上来说具有开创性的意义。研究高卉民先生大写意花鸟画有着历史和现实意义,高先生的艺术风格的关键是其写与意的独特性,我从写的历史渊源、高卉民先生写意画的写、高卉民先生写意画的意、意与写的关系、意与个性情感的关系等几个方面来论述。为研究高先生的艺术而抛砖引玉。
    In terms of traditional Chinese painting, freehand brushwork is not only form but also connotation, is the essence at the same time. In a word Chinese painting can’t be away from this center, because it is the philosophy idea of the harmony between the heaven and the human’s materialization, one of the fine Chinese tradition culture, and its the most significant feature. As for language, form and style, Chinese painting has two kinds, that is fine brushwork and freehand brushwork, and the later has two different types namely great freehand brushwork and small freehand brushhand. Freehand brushwork’s writing has limitation but its implication is infinite. Too small, the painting will become fine brushwork, but too great, the painting will turn into abstract ones. Relatively speaking freehand brushwork pays attention to both implication and technique of drawing, and this is particularly the case for great freehand brushwork, which is the art of inscribing implication with technique of drawing.Creating freehand brushwork needs consummate talent, endowments, knowledge,cultivation and skill, and needs some methods in accordance with rule, measures, and aesthetic. Calligraphy and freehand brushwork are the art of technique of drawing and emotion.Nowadays, in Chinese painting circle a flower-bird painting with regionality and contemporaneity called "North of the Great Wall Flower-bird Painting School" is growing up. Its center figure is professor Gao hui-min. Mr. Gao had explored North of the Great Wall Flower-bird painting for 30 years since the end of 70th last century, and has become a famous artist now. Heilongjiang Province locates in the alpine region, has many objects which haven’t been dabbled by tradition flower-bird painter, so excavating special art theme and broadening the flower-bird painting’s expression fields provide objective base for a artist to form unique style, and in terms of content the formation of "North of the Great Wall Flower-bird Painting School" has groundbreaking significance.Researching Mr. Gao’s great freehand brushwork flower-bird painting has historical and realistic significance. The key of his art style is the ingenuity of writing and implication. The paper discuss the historical origins of writing, the writing and the implication of Mr. Gao’s freehand brushwork, the relation of implication and writing, the relation of implication and personality and emotion to attract more attention on its research.
        

高卉民先生写意画之写与意

摘要7-8
Abstract8-9
第一章 绪论10-19
    一、选题背景10-11
    二、文献综述11-13
    三、选题依据13-14
    四、研究现状14-15
    五、研究方案15-17
    六、研究方法17
    七、创新之处17-18
    八、研究基础18-19
第二章 写的历史渊源19-27
    一、书画同源20-22
    二、写与刻、刻与写22-23
    三、从写的线条到文人画的写意23-25
    四、历史写意画的特点25-27
第三章 高卉民写意画的"写"27-35
    一、高卉民"写"的线条特点27-29
    二、高卉民写意画的点、线、面29-31
    三、写的点线面与空间关系31-35
第四章 高卉民写意画的意35-45
    一、高卉民写意画的意35-36
    二、高卉民写意画中意的历史性、意的幽远36-38
    三、意的现实性"寒"的多方面内涵38-40
    四、意与写的关系40-41
    五、意与个性情感的关系41-45
结论45-47
参考文献47-48
攻读硕士学位期间所发表的学术论文48-50
致谢50
        下载全文需50


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