“写意传神”在当代工笔画中的继承与发展  

Inheritance and Development of the Expressiveness and Freehand Style in Chinese Contemporary Gongbi Painting

作　　者：刘会营[1] 

机构地区：[1]集美大学教师教育学院,福建厦门361021

出　　处：《集美大学学报（哲学社会科学版）》2017年第4期126-131,共6页Journal of Jimei University：Philosophy and Social Sciences

基　　金：福建省中青年教师教育科研项目(JAS150299)

摘　　要："写意传神"是中国绘画在长期历史发展中逐渐形成的审美标准,也是工笔画创作中始终恪守的审美内质。通过对画家谢振瓯的作品《长安西市图》和刘临的作品《白云》的分析,阐述了"写意传神"在中国当代工笔画创作中的核心地位。并指出,在工笔画创作进入复兴阶段之后,对"写意传神"这个审美内质的继承与发展成为了工笔画家们首先需要面对的问题,画家必须对绘画理念、生活体验、价值取向以及宇宙观的认知水平进行提炼总结,才能明白"万物静观皆自得"的真谛。单纯依靠绘画技术语言的堆积而没有继承到中国传统绘画创作与欣赏的精髓,决不可能深入到中国工笔画的内质。By analyzing the historical origin of “expressiveness and freehand style” in Chinese painting, this paper aims to re-veal that aexpressiveness and freehand style55 has gradually developed into an aesthetic standard of Chinese painting, as well as the aesthetic essence to abide by in the process of gongbi painting. It probes into Xie Zhenou’s West Market in Chang’an and Liu Lin’s White Clouds to further illuminate that “expressiveness and freehand style” has played a core role in contemporary gongbi painting. It also points out that gongbi painters have given top priority to inheriting and developing this aesthetic essence since gong-bi painting entered the revival stage. Only by summarizing their painting philosophies, life experience, value choices, and cosmological views, can painters seize the quintessence that “peace of mind endows you with a broad vision”. Simply cramming painting skills and terms, rather than understanding the quintessence of creation and appreciation for Chinese traditional painting, will never get you to the essence of gongbi.

关 键 词：写意传神 工笔画 审美内质 

分 类 号：J212.2[艺术—美术]