论中西绘画的虚实表现及审美追求-美术学专业论文.docxVIP

万方数据 万方数据 山东理工大学硕士学位论文 摘 要 摘 要 中国绘画的虚实观源于传统哲学，“有无”、“虚实”这种对立统一的关系一直 存在于中国的古代哲学之中。中国绘画追求“虚实相生，无画处皆成妙境”。虚实 相生这种艺术处理手法在我国传统绘画中很早就被熟练掌握。中国画的画面不可一 处无虚实，而且任何方面的对立统一：如疏密、松紧、轻重、粗细、繁简、长短、 宾主、压露等都可归结为虚实。而西方绘画主要通过画面中具体、生动、独特的形 象来表现丰富而深刻的典型内在本质，画家通常将外在形象加以加强并扩大，以形 成画家所追求的“逼真”。虽然意识到“近实远虚”等透视法的存在，但西方绘画 仍强调“写实主义”的重要性。“实”在西方绘画长期居于主导地位。 本论文主要采用图例分析法，通过国内外有影响的名家典型作品的分析研究， 阐述中西绘画关于虚实的审美追求、画面虚实的不同表现及其相互影响。中国绘画 虚实表现一章分析中国画传统表现手法有意蕴丰富的“空白”、灵活多变的笔法、 酣畅淋漓的墨法等；中国画现当代表现手法主要结合唐勇力、江宏伟等名家作品， 研究画家是怎样通过“破坏法”、“借水法”等来表现画面中的虚实，使画面整体耐 看，以达到具有独特个性的审美境界。在西方绘画的虚实表现一章重点结合达芬奇、 丢勒、塞尚、凡高等绘画大师的作品，通过画面中素描关系的强与弱、背景反衬主 体、色彩鲜与灰这三个方面分析西方绘画画面中的虚实表现及审美追求。最后探讨 了在虚实问题上中国画与西方绘画的相互影响：西方绘画在素描、色彩两个方面对 中国工笔画的虚实、写意画的虚实都产生了深刻的影响；中国画的线条反过来也对 西方绘画虚实产生了影响。通过探索不同画家在作品中对虚实的不同表现形式，期 望对实际的绘画创作有所帮助。 【关键词】虚实；写实 ；表现手法；相互影响 I 山东理工大学硕 山东理工大学硕士学位论文 Abstract Abstract The relationship between reality and unreality in traditional Chinese culture remains one of the vital basements among various unities of opposites. This viewpoint originated from traditional philosophy, as this unity of opposite has been in traditional culture for such a long time and maintained its consistency. The aesthetic art underlines the coexistence of reality and unreality, as we know many times ingenious conceptions always exist in unreality and convey the true understanding deep in the heart. This artistic technique has been mastere d in traditional paintings many centuries ago; we can trace its orientation to the cradle of this eastern civilian. Without reality and unreality, these paintings will lost their vitality, and these words do not exaggerate the importance and any unity of o pposite can be generalized as the relationship between reality and unreality, for instance, the different density in the same picture, the elasticity to use the brush, the weight for the use of ink, the contrast between thickness and thinness, the differen t length of the lines, and other technique to describe a certain view. On the contrary, western paintings try to perform typi