试论风俗画的“情”及其表现  

On the “Emotion” of the Genre Painting and Its Manifestation

作　　者：张放[1] 

机构地区：[1]成都信息工程大学文化艺术学院,成都610103

出　　处：《北京印刷学院学报》2017年第3期80-84,共5页Journal of Beijing Institute of Graphic Communication

摘　　要：风俗画的"情"包含了主体与客体两个方面,客体方面的情有故事的情节、情境、人物的情态。主体方面则有画家的情感、情趣、情调。情节是风俗画故事内容的本体,结构画面与塑造人物的逻辑与情感依据;情境是故事发生的环境空间,为故事演绎营造生动的环境氛围;情态是灌注了同故事内容高度吻合的精神情感的人物动态,是人物能够表情言说的肢体语言。由故事内容触发的画家情感是影响风俗画创作趋向的关键因素;而情趣与情调既作用于风俗画的创作过程,影响风俗画的品格面貌,又经由风俗画反映出画家内在的品格与修养。诸多"情"的交汇融合,让风俗画成为"情"的凝结体,以鲜活生动的图像为我们展现丰富多彩的社会生活风习的画卷。The ＂ emotion＂ of the genre painting contains two aspects ）f the subject and the object. The object is the plot of the story, the situation and the appearance of the figures carried by the genre painting. The subject is the artist＇s emotiontaste and mood. The plot is the body of the story, structm of painting, shaping the logical and emotional basis of the characters; the situation is the space where story happens to creat a vivid atmosphere for the interpretation of the story; modalit is the figures＇ dynamic, which filled with emotions that is ighly consistent with the content of the story, and is the expressive body language. The emotion of the painter triggered by theory content is the key factor that influences the creative trend o the genre painting. The taste and mood not only affect the creative process of the genre painting, but also the character and the accomplishment of the painter. After the convergence of many ＂ emotions＂, the genre painting became a condenation of the ＂emotion＂, with fresh and vivid images for us to slow a variety of social life and custom.

关 键 词：风俗画 情节 情境 情态 情感 情趣 情调 

分 类 号：J0[艺术—艺术理论]