摘要
新中国成立后,中国写意人物画的题材主要以政治、叙事为主。改革开放后,中国艺术步入了一个新的历史时期,复合多元化的文化生态给中国人物画的发展提供了多种可能性,中国人物画坛呈现出前所未有的纷繁复杂的多元面貌。中国写意人物画的题材和表现语言相对丰富,题材的广泛性与生活中的自然事物相结合,即生活中的小人物、随处可见的自然景象成为写意人物画中重要的表现对象。如以周昌谷、杨春华、于文江、范扬、王彦萍等为代表的人物画家一直致力于人物画与花鸟画元素结合的探索,通过创作实践将这种结合上升到理论的高度,对现代写意人物画的创新和发展起着重要的作用。这不仅是对大自然美认识的一种突破,也是中国哲学中返乎自然,反朴归真思想的一种体现。因此本文以写意人物画为切入点,分别对写意人物画中花鸟画元素的寓意特征的引用和写意人物画对花鸟画元素的技法借鉴进行论述,总结出此类写意人物画对今后中国画创作的重要的影响；也希望通过自己的分析论述,为写意人物画创作领域提供可靠的理论基础,重要的是能够激发创新思维,创作出更多具有现代性和时代精神的优秀作品。
第一章在现代写意人物画中花鸟画元素的运用背景及成因中,笔者试图解读花鸟画元素在写意人物画中运用的历史概述,早期人物画在岩画中多有表现,人物在画面中具有一定的独立表现性。到东晋顾恺之时期,人物画题材已经呈现出人物与花鸟结合的标准样式,花鸟画元素在人物画中的运用在明代晚期达到顶峰。现代写意人物画中又涌现出一批将人物与花鸟元素相结合的画家。因此笔者认为,花鸟画元素在历代人物画中都有所运用,只是人物画对花鸟画元素中的寓意特征的引用写意人物画对花鸟画元素的技法借鉴显示出不同风格特征。花鸟画元素在现代写意人物画中的运用实质上是中国古老哲学中“天人合一”的思想体现,当今“速度化”的世界为现代人带来了激进浮躁的心情,追求画面中“天人合一”的思想被画家们热衷表现,同时这也是写意人物画多元化发展的必然趋势。
第二章对现代写意人物画中花鸟画元素的运用进行分析,主要从人物画对花鸟画元素中的寓意特征的引用、写意人物画对花鸟画元素的技法借鉴两方面进行阐释。写意人物画中花鸟画元素的技法运用主要综合和突破人物画“造型”中“形神”的塑造,从而使画面显示出生动自然的格调。现代人物画家中周昌谷、李世南对此实践较多。杨春华、于文江主要将花鸟画元素的寓意元素特征注入人物画中,他们的绘画作品是以花鸟画元素与人物性格相结合的表达方式,使画面充溢着田园诗般的宁静与和谐。
第三章是写意人物画中花鸟画元素的运用对现代中国画创新的影响探究。同时为了实践这一想法,笔者在自身的写意人物画创作中也应用到这一观点,试图从精神层面与画面的空间处理上寻找适合自己创作的艺术语言。创新并非简单的改变构图和绘画内容,而是画家情感与时代特征的融合,才能使创作具有时代和现代性。
Since the foundation of PRC, figure painting of freehand brushwork in China is narrative-based and its theme is politics. Since the reform and opening up, Chinese art has stepped to a new historical stage. Composite pluralistic culture ecology makes it possible for the development of Chinese figure painting. The Chinese figure painting shows an unprecedentedly various multi-face. The theme of figure painting of freehand brushwork and its language use is relatively diverse and flexible: combining the theme with natural things. Ordinary people in daily life and natural scenery become the major objects in figure painting of freehand brushwork. Some painters like Zhou Chang Gu, Yang Chunhua, Wen Jiang, Fan Yang, Wang Yanping, etc. have been committed to the exploration of the combination of figure painting of freehand brushwork elements and flower-and-bird painting ones. It is significant for the innovation and development of modern figure painting of freehand brushwork to make this combination a theory through the creative practices. This is not only a breakthrough in understanding of the natural beauty but also a reflection of Chinese philosophy: retuning to nature. This thesis regards figure painting of freehand brushwork as the starting point, through analysis and discussion, summarizing artistic features like the use of techniques, theme performance and spatial processing. And thus, this thesis sums up that such figure painting has an influential impact on the creation of Chinese Painting in future. Through the analysis and illustration, the thesis is intended to provide reliable theoretical basis for the figure painting in future. The ultimate goal is to stimulate creative thinking so as to create more contemporary and outstanding works.
Chapter one summarizes the history background and contributing factor of flower-and bird-painting's elements in modern figure painting of freehand brushwork. Early figure painting appears in cliff painting and the figures in pictures show a certain degree of independent. Until to the period of Eastern Jin, the theme of Gu Kaizhi's figure painting already show the standard style which is the figures combined with flowers and birds. The application of this painting reaches to peak in the late Ming Dynasty. A number of painters who combine the figures with flowers and birds emerge in modern time. So, flower-and bird-painting's elements is applied in dynasties' figure painting, except for the different subjects, performance techniques and spatial processing. The essence of this application embodies the idea of ancient Chinese philosophy of "the Harmony between Heaven and Man". The "speedy world" has brought radical and impulsive mood to people, therefore, the pursuit of the harmony idea perform by painters, and at the same times that is the diversified development trend for the flower-and bird-painting.
Chapter two analyzes the application of flower-and bird-painting's elements in modern figure painting of freehand brushwork from three aspects of techniques, the theme's performance and spatial processing. The techniques' application integrates or breaks "the form and spirit shaping" in figure painting's shaping so that the pictures display vivid natural style. Zhou Changgu as one of the modern figure painters creates more works about this. Yang Chunhua and Yu Wenjiang are all good at this theme, and their woks express the well combination between the scenery and figures' character as a result the works are full of idyllic tranquility and harmony. There are tow approaches which handle the space in flower-and bird-painting's elements, i.e., figures as the subject which supplemented by flower and bird and the same proportion. And these two modes find a new and innovative language for handling the space in flower-and bird-painting's elements.
Chapter Three explores the influence of modern Chinese Painting by the application of flower-and-bird painting elements in figure paintings. And this is reflected in the diversified development of painting, which is more expressive and of special era characteristics. In order to make the idea into reality, this view is applied in the author's own figure paintings, trying to find the suitable creative artistic language for her own. Innovation is not a simple change in the composition and drawing content, but the integration of characteristics of the painter's emotion and era, which enables the painting modern.
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