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1、浅析传统水墨人物画像造型的相关艺术特色 线性造型。中国画,首先是线的艺术,不是体面的艺术、色彩的艺术。 纵观中国的绘画史,中国绘画的线性造型特征自古有之。人物御龙帛画和人物御龙帛画是我国在战国时期出现的楚帛画,为最早的独幅绘画,这两幅作品的 出现就已经标志着以线描作为造型的主要手段已经形成。 中国水墨人物画历来强调线性特征,这也是对中国传统意象造型观念的继承和发展。之所以说是对中国传统意象造型观念的继承合发展,是因为线性特征不仅仅指的是线条,而具有了更为宽泛的涵义。线的出现从一开始就不是简单的对客观物象的模仿,而是一种经过了描绘者头脑过滤、提炼、概括出来的产 物,带有描绘者情感的烙印,因而具有
2、极强的表现力和概括性。我们看见的线只是表现形式,性则放映了思想和情感。去伪存真,线性特征才是中国画最本质、最稳定不变的东西。 从起源方面来看,图画和文字都有相同的起源。从远古人类的结绳记事到以图记事,并最终导致了文字的出现。中国最古老的文字甲骨文就是一种高度概括的图画符号。商周时期流传下来的甲骨文就大量图画文字的存在。这些图画文字经过时间的沉淀和历代发展,逐渐由图案化演变为由线条构成的文字,并在此基础上产生了书 法艺术。因而以图画和文字为基础的中国绘画和书法自然也应有相同的起源了。 从表现形式方面来看,中国绘画和书法在笔墨运用上具有共同的规律。唐代张彦远在其历代名画记叙画之源流中说:书之体势,
3、一笔而成,气脉通连,隔行不断,维王子敬明其深旨。故行首之字,往往既其前行,世上谓之一笔书。其后陆探微亦作一笔画,连绵不断,故知书画用笔同法。中国文人画对笔墨的追 求,突出用笔用墨本身的独立审美价值更是与中国书法艺术重视用笔不谋而合,可以这样说中国绘画的用笔正是来源于书法用笔的灵感。 传神作为人物画的创作理论被明确的使用并加以系统论述的当属东晋顾恺之。相传顾长康画人,或数年不点目精(睛)。人问其故,顾曰:四体妍蚩, 本无关于妙处,传神写照,正在阿堵中。传神指的是表现对象的神韵和精神内涵,并作为品评一幅画的第一标准,而写照一词源于佛 学,代表着主体的感知能力。传神写照的意思是说人的美丑与形体没有关
4、系,形体与人物的神韵、精神也没有关系,要做到传神关键在于对人物眼睛的刻画。 语言的程式化。中国画渊源流传,历经数百年的积累与发展,经过长时间的沉淀与无数伟大画家的积累逐步形成了一套完整的技法体系和审美标准,并最终形成了一定的程式化。中国传统的绘画不论笔墨、着色、构图都有自己的程式化原则,带有着特定的哲学思想指向和民族文化式化具有相对的稳定性特征,简洁而有规律。有利亦有弊,它指的是画家经过长时间对生活的积累和提炼,总结升华创造出来的一种艺术符号和艺术语言。程式化的艺术符号是绘画艺术发展成熟的一个具体标志。 程式化的造型是再现也表现的结合,画家不仅可以运用程式化的造 型语言去表现熟悉的生活并且还可
5、以在不断的表现中去创造新的程式。程式化符号首先是具体的,象形的,体现了具体对象的造型特征,其次又是符号化的,象征性的,规律性的,是对具体对象高度概括和提炼出来的典型形象。 在中国的人物画中,程式化的表现很多。都是经历时间的洗礼而总结出来的程式化艺术语言符号。作为传达人的情绪、感觉而创造的一种媒介,它并不是再现人物的外形的真实,而着重于画家感情的真实。QcWA3PtGZ7R4I30kA1DkaGhn3XtKknBYCUDxqA7FHYi2CHhI92tgKQcWA3PtGshLs50cLmTWN60eo8Wgqv7XAv2OHUm32WGeaUwYDIAWGMeR4I30kA1DkaGhn3Xt
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