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写意人物画以其特有的造型方式和笔墨表现手法,具有独特的艺术语言和审美功能。如何处理线条和墨色的矛盾关系始终是制约写意人物画发展的难题之一。本文通过理论认识、绘画实践对写意人物画的线条和墨色之间的矛盾关系进行探究,在此基础上进一步研究线条与墨色的审美表现。从中国传统绘画观念的束缚;写意人物画发展的艰难历程;写意人物画的时代性和历史使命等方面来阐述线条与墨色之间的矛盾关系。旨在继承传统人物画的基础上融合线条与墨色的矛盾借古以开今,丰富写意人物画的表现手法和艺术语言,凸显写意人物画表现与审美的现当代性、多样性以及多元性状态。
Freehand painting with its unique modeling methods and performance of ink, has a unique artistic language and aesthetic function. How to deal with the contradictory relationship between the lines and the ink color is always one of the problems that restrict the development of the freehand figure painting. Through theoretical understanding and painting practice, this article explores the contradictory relationship between the lines and the ink colors of the portraits, and further studies the aesthetic performance of lines and colors. From the shackles of Chinese traditional painting concepts; the difficult process of the development of freehand portraits; the epoch of the portraits of the freehand portraits and historical missions, the paper expounds the contradictory relations between the lines and the colors. The aim is to inherit the contradiction between the traditional figure painting and the combination of the line and the ink color. By means of the ancient method of opening and enriching the expressive technique and artistic language of the freehand figure painting, it highlights the modernity, diversity and the pluralistic state .