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中国独特的意象造型观使中国传统人物画很早就摆脱了描摹自然的再现道路,而走上抒情、写意的表现道路。由于各个历史时期人们所具有的审美情趣、审美理想的不同,意象造型观也在不断地发展、丰富和变化着。从总体上看中国人物画都是属于表现的、写意的。随着社会发展和时代变革,近百年来中国写意人物画整体面貌也发生着巨大变化,新的写意人物画各种流派风格迅速崛起。中国的写意人物画开始进入复兴时期。本文通过对中国写意人物画意象造型的探讨,进一步论证中国画本质特征和发展的规律性,在客观看待过去探索的同时,继续拓展和延伸当代写意人物画意象造型,以促进中国写意人物画更好的继承和发展。
China’s unique concept of image modeling made Chinese traditional portraits long ago free themselves of a path of reproduction that traced nature and embarked on a path of expression of emotion and expression. Due to the aesthetic tastes and aesthetic ideals that people have in different historical periods, the concept of image modeling is continuously developing, enriched and changed. As a whole, all the Chinese portraits are performance-oriented and freehand. With the social development and the changing of the times, the overall appearance of Chinese freehand portraits has also undergone tremendous changes in the last hundred years. The styles of various novelties and portraits have risen rapidly. China’s freehand painting began to enter the revival period. Through the discussion of the imagery modeling of Chinese freehand portraits, this paper further demonstrates the regularity of the nature and development of the Chinese painting. While objectively viewing the past explorations, this article will continue to expand and extend the contemporary portraiture portraits of the freehand portraits so as to promote the better Chinese portraits Inheritance and development.