关于20世纪现实主义水墨人物画的探讨
摘要
中国水墨画是一种独特的艺术形式,有着清新素雅的面貌,画面往往超凡脱俗,意境幽远,因而独具魅力,在古代深受文人士大夫青睐。文人绘画尽量与画工相区别,注重“写意”,而不在“形似”上较真,力求格调高雅,多是抒发某种性情或是追求某种艺术境界,导致传统绘画题材转向山水和花鸟,人物画创作式微,是其衰落的重要因素。其中这种状况持续到清朝后期,在一片摹古之风中,画家的创造力几近于泯灭。这种消极状况引起了清末革新人士的不满,呼吁中国画也要“改良”,以徐悲鸿、蒋兆和等为代表的一代艺术大师们,顺应历史的潮流,响应时代的呼唤,精诚探讨,苦心钻研,首先扛起现实主义旗帜,积极吸收西方绘画的素描、色彩知识以及图形规律,采用传统的笔墨,探索西洋画的造型观念与水墨画的笔墨语言相融合的方法,促使中国画,特别是人物画,实现了贴近现实生活和面向人民大众的观念变化,从古典形态向现代形态的转型。二十世纪中国人物画的复兴,在整个中国画领域中表现得十分突出。在当代,水墨写意人物画家吸收、借鉴了西方艺术的有益成分,在素材选择、形象塑造还是技法上,都进行了大胆的尝试和探索,进而找到了艺术表达的新途径。改革开放三十年来,人物画的创作,更是生气勃勃,华彩纷呈。中国画的水墨人物领域又获得了长足的进展,中国人物画所呈现的繁荣景象更是前所未有,所取得的成就十分突出,涌现出一批批脚踏实地的画家,他们把握时代的脉搏,着眼于实际生活的方方面面,深入刻画出种种人物面貌,不断丰富着绘画领域的艺术形象。现实主义画风因其与时俱进性和广泛的群众基础,从而占据着不易撼动的主流位置。
21世纪的现实主义水墨人物画应分为两个层面,精神层面和艺术传达层面。现实主义水墨人物画的精神与现实主义的手法之间存在着内在的紧密联系,我们只有理清楚这种关系,才能更好地传承和发扬现实主义。21世纪现实主义水墨人物画特色应是立体的、丰满的,赋予人文关怀和生活热情的,其艺术理想应该是真善美的；审美取向应该是正大开阔明朗的；创作取向应该是关注人生、贴近自然,天人合一的；传达手法应该以写实为主；风格上应体现真情实感,体现对艺术与人生的独特感悟和审美发现。富有这种特色的现实主义水墨画一定会有强大的发展生命力和广阔的发展空间。
Chinese ink painting is a unique art form, has a clean elegant look, the picture is often extraordinary, mood Youyuan, so charming, popular in ancient times by the literati. Literati painting and painters as the phase difference between the focus on "impressionistic", rather than in the "shape" on seriously, and strive to elegant, many are seeking to express a certain temperament or artistic level, leading traditional subject matter turned to landscape painting and flowers and birds, portraits creative decline is an important factor in its decline. This situation which lasted until the late Qing Dynasty, in the midst of Mogu the wind, the artist was almost devoid of creativity. Late this negative situation has aroused people's dissatisfaction with innovation, appeal to the Chinese painting as well as "improved" to Xu, Jiang Zhaohe as the representatives of the generation of artists who follow the historical trend in response to the call of the times, sincere study, painstaking research, the first carry the banner of realism, drawing a positive absorption of Western painting, color knowledge, and graphics rule, the traditional pen and ink, to explore the concept of western style painting ink and wash painting method of the integration of language, to promote Chinese painting, especially portraits, achieved close to real life and the concept of change for the masses, from the classical to the modern transformation. The twentieth century revival of the Chinese figure painting in the whole field of Chinese painting have been very prominent. In modern times, ink freehand figure painter absorb and learn useful elements of Western art in material selection, image building or the techniques, and have carried out a bold experiment and explore, then find new ways of artistic expression. Three decades of reform and opening, the creation of portraits, it is dynamic, Nightlife scene. The field of Chinese painting ink figure was given a considerable progress, presented by the Chinese figure painting is unprecedented prosperity, the achievements are outstanding, the emergence of a batch of artists down to earth, they grasp the pulse of the times, focusing on the real life aspects, in-depth portrait of the face of all the characters, constantly enriching the art of painting the image of the field. Realistic style with the times and because of its broad popular support, which occupy the mainstream position is not easy to shake.
Realism in the 21st century ink figure should be divided into two levels, spiritual and artistic aspects of communication. Ink portrait of the spirit of realism and realism that exists between the way the inner close contact, we know this relationship is only reasonable to inherit and carry forward the better realism. Realism in the 21st century should be the characteristics of ink three-dimensional figure, full, give humane care and passion for life, and their artistic ideals should be the good and the beautiful; aesthetic orientation should be a broad bright CP; creative approach should be the focus of life, close to nature, nature and man's; convey realistic approach should be based; style should reflect the true feelings, reflecting the unique life of art and aesthetic perception and discovery. Full of realistic features ink that there will be a strong vitality and broad development space for development.
21世纪的现实主义水墨人物画应分为两个层面,精神层面和艺术传达层面。现实主义水墨人物画的精神与现实主义的手法之间存在着内在的紧密联系,我们只有理清楚这种关系,才能更好地传承和发扬现实主义。21世纪现实主义水墨人物画特色应是立体的、丰满的,赋予人文关怀和生活热情的,其艺术理想应该是真善美的；审美取向应该是正大开阔明朗的；创作取向应该是关注人生、贴近自然,天人合一的；传达手法应该以写实为主；风格上应体现真情实感,体现对艺术与人生的独特感悟和审美发现。富有这种特色的现实主义水墨画一定会有强大的发展生命力和广阔的发展空间。
Chinese ink painting is a unique art form, has a clean elegant look, the picture is often extraordinary, mood Youyuan, so charming, popular in ancient times by the literati. Literati painting and painters as the phase difference between the focus on "impressionistic", rather than in the "shape" on seriously, and strive to elegant, many are seeking to express a certain temperament or artistic level, leading traditional subject matter turned to landscape painting and flowers and birds, portraits creative decline is an important factor in its decline. This situation which lasted until the late Qing Dynasty, in the midst of Mogu the wind, the artist was almost devoid of creativity. Late this negative situation has aroused people's dissatisfaction with innovation, appeal to the Chinese painting as well as "improved" to Xu, Jiang Zhaohe as the representatives of the generation of artists who follow the historical trend in response to the call of the times, sincere study, painstaking research, the first carry the banner of realism, drawing a positive absorption of Western painting, color knowledge, and graphics rule, the traditional pen and ink, to explore the concept of western style painting ink and wash painting method of the integration of language, to promote Chinese painting, especially portraits, achieved close to real life and the concept of change for the masses, from the classical to the modern transformation. The twentieth century revival of the Chinese figure painting in the whole field of Chinese painting have been very prominent. In modern times, ink freehand figure painter absorb and learn useful elements of Western art in material selection, image building or the techniques, and have carried out a bold experiment and explore, then find new ways of artistic expression. Three decades of reform and opening, the creation of portraits, it is dynamic, Nightlife scene. The field of Chinese painting ink figure was given a considerable progress, presented by the Chinese figure painting is unprecedented prosperity, the achievements are outstanding, the emergence of a batch of artists down to earth, they grasp the pulse of the times, focusing on the real life aspects, in-depth portrait of the face of all the characters, constantly enriching the art of painting the image of the field. Realistic style with the times and because of its broad popular support, which occupy the mainstream position is not easy to shake.
Realism in the 21st century ink figure should be divided into two levels, spiritual and artistic aspects of communication. Ink portrait of the spirit of realism and realism that exists between the way the inner close contact, we know this relationship is only reasonable to inherit and carry forward the better realism. Realism in the 21st century should be the characteristics of ink three-dimensional figure, full, give humane care and passion for life, and their artistic ideals should be the good and the beautiful; aesthetic orientation should be a broad bright CP; creative approach should be the focus of life, close to nature, nature and man's; convey realistic approach should be based; style should reflect the true feelings, reflecting the unique life of art and aesthetic perception and discovery. Full of realistic features ink that there will be a strong vitality and broad development space for development.
引文
[1]徐瑾.简论现实主义概念的形成及现实主义的泛化[J].佳木斯大学社会科学学报,2005,(03)
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[4]当代现实主义水墨人物画特色及艺术发展规律研究马涛； [文献出处]文艺理论与批评,Theory and Criticism of Literature and Art,编辑部邮箱2007年03期.
[5]中央美术学院美术史系.中国美术简史北京：高等教育出版社,1990.9.
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[20]蒋兆和.蒋兆和人物画讲义[M].天津古籍出版社2007.1.140
[21].潘天寿.中国绘画史[M].上海：上海人民美术出版社,1983年12月.
[22]俞剑华.国画研究[M].广西师范大学出版社,2005年8月.
[23]张彦远.历代名画记[M].南京：江苏美术出版社,2007年8月.
[24]俞剑华.宣和画谱[M].南京：江苏美术出版社,2007年6月.
[25]石涛.石涛画语录[M].西怜印社出版社,2006年7月.
[26]黄宾虹.黄宾虹谈艺录[M].河南美术出版社,1998年10月.
[27]李泽厚.美的历程[M].上海：上海书画出版社,1999年9月.
[28]宗白华.美学散步[M].上海：上海人民出版社,1981年6月.
[29].高楠.艺术心理学[M].辽宁人民出版社,1988年1月.
[30].王治河.后现代主义辞典[M].北京：中央编译出版社,2004年1月.
[2]彭吉象.艺术学概论[M].北京：北京大学出版社,2006.
[3]马涛.当代现实主义水墨人物画特色及艺术发展规律研究[J].文艺理论与批评,2007,(03).
[4]当代现实主义水墨人物画特色及艺术发展规律研究马涛； [文献出处]文艺理论与批评,Theory and Criticism of Literature and Art,编辑部邮箱2007年03期.
[5]中央美术学院美术史系.中国美术简史北京：高等教育出版社,1990.9.
[6]潘运告主编.唐五代画论[M].湖南美术出版社,1997,04.
[7]潘公凯,李超,惠蓝,陈永怡.中国绘画史(插图本)[M].上海：上海古籍出版社,2004,05.
[8]薄松年.中国美术史教程[M].陕西人民美术出版社,2002,02.
[9]徐冀.中国书画名家画语图解之徐悲鸿[M].北京：中国人民大学出版社,2005,11.
[10]中央美院美术史系.中国美术简史(增订本)[M].中国青年出版社,2002.
[11]华天雪.徐悲鸿的中国画改良[M].上海：上海书画出版社,2007,07.
[12]王震.徐悲鸿文集[M].上海：上海画报出版社,2005.
[13]蒋兆和：《怀念徐悲鸿先生》,原载《美术研究》1983年第3期.
[14]高师教材编写组.中国美术史及作品鉴赏[M].高等教育出版社,1997,07.
[15]水天中.当代人物画的发展路径艺术沙龙[期刊]2008,2.
[16]毕建勋.水墨人物画的创作[M].河南：河南美术出版社,2006,12.296页.
[17]郭怡孮 主编《当代中国美术家档案—袁武》华艺出版社2005,04.
[18]杜春生.中国人物画新思考济南：黄河出版社,2001.
[19]毕建勋.中国画造型基础教学[M].河南：河南美术出版社,2006,12.43.
[20]蒋兆和.蒋兆和人物画讲义[M].天津古籍出版社2007.1.140
[21].潘天寿.中国绘画史[M].上海：上海人民美术出版社,1983年12月.
[22]俞剑华.国画研究[M].广西师范大学出版社,2005年8月.
[23]张彦远.历代名画记[M].南京：江苏美术出版社,2007年8月.
[24]俞剑华.宣和画谱[M].南京：江苏美术出版社,2007年6月.
[25]石涛.石涛画语录[M].西怜印社出版社,2006年7月.
[26]黄宾虹.黄宾虹谈艺录[M].河南美术出版社,1998年10月.
[27]李泽厚.美的历程[M].上海：上海书画出版社,1999年9月.
[28]宗白华.美学散步[M].上海：上海人民出版社,1981年6月.
[29].高楠.艺术心理学[M].辽宁人民出版社,1988年1月.
[30].王治河.后现代主义辞典[M].北京：中央编译出版社,2004年1月.