传统版画与康熙五彩之比较研究
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摘要
传统版画艺术与康熙五彩是中国绘画中的不同种类,传统版画的在表现技法、构图形式与创作题材等方面都对康熙五彩的发展有着重要的影响。本文对传统版画与康熙五彩的起源、形成与发展进行了阐述,以大量历史资料为研究对象,通过对传统版画与康熙五彩的装饰技法、构图形式、人物造型以及表现题材的比较研究,其中对传统版画与康熙五彩的艺术表现技法中点技法、线描、圈线以及设色进行了全面的比较,对两者的满景式构图、S形构图、X形构图、U形构图、V形构图、C形构图等方面进行比较研究,细化至老人、小孩、仕女、武夫形象等方面的比较,最后比较了动植物题材的吉祥纹样、人物、故事题材纹样。从而肯定了传统版画对康熙五彩装饰的深刻影响。为现代艺术的发展与创造提供有益的实践与理论平台。
Kangxi colorful and arts of traditional printmaking are different kinds of Chinese painting. The arts of traditional printmarking has a very important effect on the development of Kangxi colorful from skill of perfermerce, form of compositon,theme creation and so on.
In this paper, the origination,forming and development of traditional printmaking and Kangxi colorful have been stated.Based on researching on Large amount of historical data,and through the comparative studies on the decorative technique, composition form, character modeling and performance of traditional printmarking and Kangxi colorful,including overall comparation on point techniques, sketching, circleing and coloring in skill of artistic expression of traditional printmarking and Kangxi colorful.It has made comparative studies on full views composition, S-shaped composition, X-shaped composition, U-shaped composition, V-shaped composition, C-shaped composition,further refinement on the compare of elderly, children, ladies, and image of Takeo.And at the last,it has made comparation on the auspicious patterns,character and patterns of story topics.In summary, it has affirmed the deep effect of traditional printmarking on Kangxi colorful and provided a useful platform of practice and theory for the development and creation of Modern Arts.
Kangxi colorful and arts of traditional printmaking are different kinds of Chinese painting. The arts of traditional printmarking has a very important effect on the development of Kangxi colorful from skill of perfermerce, form of compositon,theme creation and so on.
In this paper, the origination,forming and development of traditional printmaking and Kangxi colorful have been stated.Based on researching on Large amount of historical data,and through the comparative studies on the decorative technique, composition form, character modeling and performance of traditional printmarking and Kangxi colorful,including overall comparation on point techniques, sketching, circleing and coloring in skill of artistic expression of traditional printmarking and Kangxi colorful.It has made comparative studies on full views composition, S-shaped composition, X-shaped composition, U-shaped composition, V-shaped composition, C-shaped composition,further refinement on the compare of elderly, children, ladies, and image of Takeo.And at the last,it has made comparation on the auspicious patterns,character and patterns of story topics.In summary, it has affirmed the deep effect of traditional printmarking on Kangxi colorful and provided a useful platform of practice and theory for the development and creation of Modern Arts.
引文
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[24]赵作梁.怎样学花鸟画——构图[M].合肥：安徽美术出版社,2003：20.
[25]方复.景德镇陶瓷古彩装饰[M].南昌：江西高校出版社,2004：9.
[26]杨丽.浅谈绘画的构图[J].大众文艺,2009(18)：83.
[27]张志民.中国山水画构图研究[M].济南：山东美术出版社,2001：30.
[28]佘惠敏.仕女[M].济南：山东画报出版社,2004：8.
[29]熊微.传统仕女画中仕女形象的造型样式及其文化内涵[D].硕士：南京艺术学院,2001.
[30]刘乐君.康熙古彩瓷“刀马人”图式探微[J].艺术评论,2009(12)：111-114.
[31]夏长秀.赏析中国画的写意美学特征[J].科教文汇,2009(09)：269.
[32]丁厚祥.中国画“形、神”论[J].淮阴师专学报,1995,17(4)：100-10
[2]郑振铎.中国古代木刻画史略[M],上海：上海书店出版社,2006： 2-8.
[3]吴武彬.对铜版画艺术的再认识——谈凹版版画[J].美术学报,1999.(1)：28.
[4]文物参考资料编辑委员会.文物参考资料.中央人民政府文化部文物局,文物参考资料[J].1954(5)：45.
[5]叶佩兰著,清盛世瓷选粹·康熙瓷器概述[M].北京：紫禁城出版社,1992：128
[6]宁钢,刘乐君.传统陶瓷古彩装饰[M].武汉：武汉理工大学出版社,2005：1
[7]李纪贤.清代瓷器的釉彩装饰[J].美术史论丛刊,1982(01)：5.
[8]童书业.童书业说瓷[M].上海：上海古籍出版社,1998：146.
[9]滕海生.器型丛书·明代器型编(上册)[M].南昌：江西美术出版社,2005：5.
[10]宁钢,刘芳.康熙古彩艺术[M].上海：学林出版社,2008：6-9.
[11]孔六庆.中国陶瓷绘画艺术史[M].南京：东南大学出版社,2003：269.
[12]蓝先琳.平面构成[M].北京：中国轻工业出版社,2008：15.
[13]项鑫.试谈山水画中“点”的造型性[J].安徽文学,2008(07)：111.
[14]苏厂元.试论“点”在山水画中的意蕴[J].美术大观,2006(08)：130-131.
[15]李福顺.中国美术史[M].北京：高等教育出版社,2002：212.
[16]黄华明.中国画线条艺术阐释[J].艺术教育，2005(03)：14.
[17]王树村编.中国年画发展史[M].天津：天津人民美术出版社,2005：3.
[18]张琳.木版年画色彩的象征与应用[J].山东艺术学院学报,2009(01)：25-29.
[19]宁钢,刘芳.论康熙古彩的写意特征[J].南京艺术学院学报,3005,(03)：62-64.
[20]周正.绘画构图原理[M].西安：西北大学出版社,1986：2-3.
[21]罗欢.艺术作品的构图[D].硕士：湖北美术学院,2007.
[22]吴守明.山水画构图[M].石家庄：河北美术出版社,1995：36.
[23]陶少波.绘画构图[M].济南：山东美术出版社,1998：23.
[24]赵作梁.怎样学花鸟画——构图[M].合肥：安徽美术出版社,2003：20.
[25]方复.景德镇陶瓷古彩装饰[M].南昌：江西高校出版社,2004：9.
[26]杨丽.浅谈绘画的构图[J].大众文艺,2009(18)：83.
[27]张志民.中国山水画构图研究[M].济南：山东美术出版社,2001：30.
[28]佘惠敏.仕女[M].济南：山东画报出版社,2004：8.
[29]熊微.传统仕女画中仕女形象的造型样式及其文化内涵[D].硕士：南京艺术学院,2001.
[30]刘乐君.康熙古彩瓷“刀马人”图式探微[J].艺术评论,2009(12)：111-114.
[31]夏长秀.赏析中国画的写意美学特征[J].科教文汇,2009(09)：269.
[32]丁厚祥.中国画“形、神”论[J].淮阴师专学报,1995,17(4)：100-10