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论文题名(中文):

 中国化进程中的矿工图    

作者:

 杨珺    

学号:

 20410012    

论文语种:

 中文    

学生类型:

 硕士    

学校:

 中央美术学院    

院系:

 其他学院    

专业:

 美术学(中国画)    

研究方向:

 现代水墨人物画    

第一导师姓名:

 田黎明    

论文完成日期:

 2007-06-25    

论文题名(外文):

 art    

关键词(中文):

 水墨构成 中国画变革    

关键词(外文):

 miner picture painting form realism clerisy    

论文摘要(中文):
关键词:《矿工图》、水墨构成、现实主义、表现、知识分子 《矿工图》 组画是卢沉先生(1935-2004)与周思聪老师(1939-1996)合作完成的,它是20世纪中国人物水墨画的代表作。对这组画的分析要从两个方面入手,一是从主题上看,《矿工图》主题上的现实主义与《流民图》一脉相承。 另一方面,从形式上看,《矿工图》超越了现实主义绘画的边界,以夸张、变形、拼贴等现代主义绘画手法进行创作。创作者是在过去一元化体制式成长的,而《矿工图》是他们摆脱掉一元化创作困境,表达画家对真实情感的起点,从而完成了由直感人生到表现人生的过渡。在此之前,画家们偏重描绘再现,情感强烈而单纯;而《矿工图》以抒发精神上的感受为主。之所以在画中放弃了现实主义的技法,正像周思聪老师所说的:“不能用技巧画画,而是要用感情画画,有这一条,无论你表现形式如何,抽象、变形,都是感情决定的,取决于感受。”“夸张变形,无非是为了更充分表现感情,扩大意境……”。 因而在造型上,两位创作者在互相探究下,选择了新的形式语言,吸收了表现主义的手法,大胆地进行夸张和变形,并对空间压缩重叠。这样做的目的,正是为了更好地表达他们的真实感受。作品不仅表现出了一种民族情感,还表现出对一种普遍的生存忧患意识,画面上沉重的表现形式正是这样一种人道主义精神和感情的吐露。同时这也是他们知识分子的社会良心的发言,是对历史使命的自觉承担的精神体现。 《矿工图》在艺术语言上所做出的改变,在当时是与文革时期刻画“正面人物”的方法相悖的,当作品面世后,曾有过“丑化工人形象”之类的批评,甚至有人说这是历史的退化,“这是从人到猿”。 然而,这种批判却无碍于它在社会上发出影响,创作者在画面中表现出来的新的艺术对当时人们的已经麻木的审美观起到了一定的改变作用。现在《矿工图》作为水墨表现形式的转折性、代表性作品已为人们普遍接受,而卢沉先生和周思聪老师,也以其成就成为后来者滋养的源泉,所达到的水墨人物画里程碑式的新高度,必将为后人铭记在心。
摘要(外文):
Abstract key words:miner picture, painting form, realism, clerisy The miner pictures were painted together by Mr. chen lu and professor sicong zhou. It is a representative work among Chinese traditional character paintings in the twentieth century. The analysis of these pictures lies in two ways. One is that the thesis of these pictures is realism, the same as that of the tramp picture. The other is that the form of these pictures exceeds the border of realism painting. It was finished with all kinds of modern painting techniques such like exaggeration, distortion and adhibition. The originators grew up in the old centralize society. But in these miner pictures, they threw off all those centralize painting masses and began to express true feelings. It is in this picture that the originators transferred from frankly painting to artistically exhibition. Erenow painters usually focused on describing reappearance simply and strongly. However, these miner pictures focused on expressing psychological feelings. It abandoned the technique of realism. Just like professor sicong zhou said, “It was painted not with skills, but with feelings. Painting like this, whatever the form is abstract or distortion, it was decided by your feeling.” Both exaggeration and distortion are used to express feelings and enlarge artistic conception more sufficiently. So in this picture the originators chose these new form languages and absorbed expressionistic thoughts. They exaggerated and distorted boldly in compressed and superposed spaces in order to express their true feelings better. This picture not only expressed nation sensibility, but also showed out a kind of all-pervading survival suffering conscious. This humanitarianism was expressed through the heavy emotion in the picture. This also showed out the society conscience of the clerisy. These artistic changes showed in the miner picture were opposite to the normal technique of describing hero at that time. Critics thought it uglified the laborers. Someone even said that it made the history degenerate from human back to monkey. However, these criticisms didn’t obstruct the effect of this great work to the society. The new art technique showed in the picture even changed the numb art taste at that time. Now these miner pictures were generally accepted by people as a transition and representative art work of Chinese traditional painting. Mr. chen lu and professor sicong zhou will be memorized forever as the landmark in this area.
馆藏号:

 1004720410012    

开放日期:

 2007-06-25    

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