【作者】 刘建国；

【导师】 张建伟；

【作者基本信息】 河南师范大学 ， 美术学， 2011， 硕士

【摘要】 纵观中国绘画史,写实水墨人物画出现的较晚,传统文人画多以写意为主,画面色彩清淡高古,用笔简约放逸,讲究意境美和墨趣。唐代以前虽然有人物画的作品,他们用笔奔放,对人物形象概括,但多数以工笔的形式出现,还是遵循“以形写神”的画风,直到宋代梁楷的泼墨画法出现,开辟了大写意的先河,使水墨人物画才得以发展。中国传统人物画还受哲学的重神韵,而不重形似的理念影响,使得造型更加简化,更加符合文人抒发自己感情的表达方式,但这些都与社会相脱离,不能表现真实的社会生活,这种摹古绘画风格一直延续到清后期才得以改变。20世纪以来,写实水墨人物画随着社会的多次变革,新的思想和新的理念不断产生,并且也取得了辉煌的成就,写实水墨人物画也推向了新的发展阶段,特别是五四新文化运动以后,康有为、蔡元培、陈独秀主张对西方写实主义学习并引以借鉴,改变观念和传统理论,具有现代形态意识的写实水墨人物画也初步形成,以徐悲鸿、蒋兆和为代表的革新派,把西方严谨的造型观念和素描透视的原理融入到中国水墨画中,在保留传统笔、墨、纸等材料和笔墨特性的基础上,加以改革创新,对中国写实水墨人物画的复兴和发展起到了决定性的作用,并且形成完整的写实水墨人物画教学体系。新中国成立后,写实水墨人物画空前繁荣,并且达到了长足的发展,老一辈的写实水墨人物画家有黄胄、方增先、刘文西等,当代具有实力较年轻的写实水墨人物画家有李伯安、何家英、田黎明、任慧中、陈钰铭、毕建勋等,他们深入生活,从实际出发,把握时代脉搏,把自己的感情全身心地投入到创作中,采用新的画面构成因素,在笔法、墨法上既继承又创新,使得当代写实水墨人物画取得了令人瞩目的成果。当代写实水墨人物画虽然呈现繁荣的景象,但在各种艺术风格并存的多元化时代的影响下,也存在着许多隐忧,人们的审美方式发生了变化,作品也必须适应人们的审美心理,可是当代写实水墨人物画作品中虽然借鉴了西方绘画的理念,融入了西学的素描、透视、色彩等效果,造型刻画准确了,却失去了传统的笔墨神韵,造成作品画面呆板、机械,没有笔墨生动自然的变化,不能给欣赏者以完美的享受。如何把西方的写实和抽象等造型因素与中国传统的笔墨因素融合为一体,即把中国传统笔墨的情趣保持住又不失造型的准确性,并且打破传统的以墨为主,变为以色为主,墨为辅,或者色墨融合等,这些都需要进一步探索,所以必须重新建构当代写实水墨人物画的教学和创作体系,只有这样中国写实水墨人物画才能得以发展。更多还原

【Abstract】 With a wide view of the history of Chinese painting, it can be concluded that the realistic wash figure paintings appeared rather late, and the traditional scholars’paintings gave priority to freehand brushwork. These paintings are attached with refreshing colors and the contracted and elegant strokes, with consideration to artistic moods and ink interest. The figure paintings showed up before Dang Dynasty. The strokes were untrammeled, and the figures in the paintings were contracted. But the majorities were fine brushworks, following the painting style of“describing spiritual quality in form.”With the appearance of Liang Kai’s splash-ink drawing in the Song Dynasty, it opened up one way for freehand brushwork and paved way for wash figure paintings. Chinese traditional figure paintings also receive some influence from philosophical notions which stress romantic charm, not appearance likeliness. Thus the styling was simplified and became accorded with the expressive approach for scholars to give vent to their emotions. But these divorce from realistic society, unable to reflect the realistic life. This copy of ancient painting style lasted until it was altered in post-Qing Dynasty. Since 20th century, the realistic wash figure painting was affected by new ideas and notions with the several social transformations, and made brilliant achievements. The realistic wash figure painting was pushed to a new development phase. Especially after the May 4th New Culture Movement, Kang Youwei, Cai Yuanpei and Chen Duxiu claimed to study and introduce the western realism and altered the traditional concepts and theories. Then the realistic wash figure painting with modern consciousness came into being. On the behalf of Xu Beihong and Jiang Zhaohe, the reformists melted the western strict modeling concepts and the theory of drawing perspective into Chinese wash figure paintings. On the basis of remaining the traditional materials such as pen, ink, paper and the ink features, the reformation and innovation played a decisive role in the rehabilitation and development of Chinese realistic wash figure painting, and a whole teaching system of realistic wash figure painting was formed. After the founding of New China, the realistic wash figure paintings became flourishing as never before and made rapid progress, resulting in the appearance of older generation of realistic wash figure painters such as Huang Zhou, Fang Zengxian and Liu Wenxi. The contemporary capable young painters such as Li Baian, He Jiaying, Tian Liming, Ren Huizhong, Chen Jueming and Bi Jianxun, plunged into life, based on the reality, followed the pulses of the time. They devoted their emotions to the creation, adopted new painting ingredients, inherited and innovated on the matter of stroke methods and ink methods. Thus, the contemporary realistic wash figure painting bears amazing fruits.Although the contemporary realistic wash figure paintings took on a sense of prosperity, under the influence of co-existence of multicultural situation, problems exist. Public’s aesthetic patterns make some changes and the paintings should adapt to these changes. But although realistic wash figure paintings borrowed the western painting concepts, and absorbed western drawing, perspective and color, and made the modeling more accurately, the traditional ink ecstasy was lost, the result is that the painting is stiff and rigid, with no vivid natural change of ink and no enjoyment to appreciators. It deserves more researches on how to combine the western realism and abstraction with Chinese traditional ink elements, on maintaining the Chinese traditional ink moods and modeling accuracy, on changing the traditional ink-focused pattern. So it is necessary to reconstruct the contemporary realistic wash figure painting teaching and composing system. Only in this way can Chinese realistic wash figure painting gain development.更多还原