肖像畫的審美維度創作研究

Abstract

肖像繪畫不僅有對形象的記錄、確認個人特徵的功能，而且有傳遞時代特徵、表達藝術家思想情感的功能。無論東方還是西方，肖像繪畫都是繪畫藝術的重要組成部分，由於時代不同、地域不同、文化背景不同、審美理念不同等等，藝術家對充滿生命力的肖像形象的呈現語言方式也千差萬別，肖像繪畫中寄寓的目的意義也不同。本論文通過梳理中西方肖像繪畫的發展歷程，分析肖像繪畫各階段的主要風格特點，解讀肖像繪畫經典作品所蘊涵的審美內涵，深入研究西方「圖像學」理論與中國「以形寫神」理論，結合自己的創作實踐體驗，研究肖像繪畫創作的審美維度，以拓展肖像畫創作的廣度與深度， 提升肖像創作的藝術境界。本研究論文分爲八章論述：第一章緒論，本章闡述研究動機與目的、研究內容輿範圈、研究方法輿步聚。第二章西方「肖像」繪畫的發展歷程，本章闡述西方肖像繪畫發展過程中，在政治、經濟、科技、文化等因素影響下及繪畫藝術自身發展規律所呈現出來的主要風格特點，分析各時期主要風格的經典肖像作品的審美內涵。第三章西方繪畫藝術的「圖像學」理論，本章研究潘諾夫斯基關於圖像學闡釋三層次意義、貢布里希關於圖像描述語言與圖像象徵意義、W.J.T米歇爾關於圖像生命的「圖像學」理論。 第四章中國「肖像」繪畫的發展歷程，本章闡述不同歷史時期，中國肖像繪畫創作的特點、主要對象、目的及蘊涵的時代哲學美學思想，分析具有時代特徵的代表性肖像作品的審美內涵。第五章中國繪畫的「以形寫神」理論，本章從不同時代對「形」與「神」關係的理解闡釋「以形寫神」的美學思想。第六章肖像創作的審美維度，本章在「圖像學」與「以形寫神」理論的框架下，結合自己的肖像繪畫創作實踐，主要從肖像繪畫的內在意義角度，研究肖像創作的表象維度、象徵維度、生命維度三個維度。第七章個人創作實踐，本章對近期創作的《星期天下午茶》、《待花開時》以及《花語·花間》三個系列的作品進行闡述，解析其審美內涵及呈現的審美維度。第八章結語，本章是對本論文研究的一個簡括的總結。肖像繪畫創作無論東方還是西方，都與各個時期的科技、經濟、政治、文化有著必然的聯繫，都有各時期的風格特點。肖像創作的發展，從肖似的純記錄功能向記錄與表現藝術家傳遞思想情感、表現時代精神與審美追求的符號性表現功能的多重功能轉向。古今中外的藝術家們創作出許多經典的肖像繪畫作品，為肖像繪畫創作及探索提供了借鑒。「圖像學」理論從藝術的形式到時代社會的政治、經濟、文化等廣闊的視角分析藝術圖像，為解讀作為圖像藝術的肖像藝術的提供方法，也為肖像繪畫創作的形式風格及滲透深刻的意義內涵提供了更為廣闊的維度。「以形寫神」理論要求藝術創作不僅要顯示其形，更要顯示富有生命力的人，達到「形」與「神」的生命內在統一，為肖像繪畫創作提供表現生命、體驗生命、感悟的生命、昇華生命的維度。肖像繪畫創作審美維度的研究，吸收東西方繪畫藝術與傳統繪畫藝術的精髓養分，深入理解繪畫藝術理論，從肖像繪畫創作的表象維度、象徵維度、生命維度三個維度進行研究，既拓展自己肖像繪畫創作的廣度和深度，也為隨著攝影、電視、電影、互聯網等眾多以圖像為表徵的媒介的普及與飛速發展，大量視覺符號進入創作視野的信息化圖像時代，探索肖像繪畫創作如何立足時代，融入生活，審視生活，建構起個性化的、既有美感又有內涵、符合時代審美特徵的肖像繪畫藝術提供借鑒。In addition to documenting the image and confirming personal features, portrait painting also conveys the characteristics of the era and expresses the artist's emotions. Whether in the East or the West, portrait painting is an important aspect of the art of painting; however, due to the different times, regions, cultural backgrounds, aesthetic concepts, etc., the artists of the portrait image full of vitality of the presentation of language varies greatly, as does the portrait painting's intended message. This paper, through combining the development histories of Chinese and Western portrait painting, analyzing the main stylistic characteristics ofeach stage of portrait painting, interpreting the aesthetic connotation of the classic works of portrait painting, studying the theory of Western"pictorialism" and the Chinese theory of " To Catch the Spirit with the Shape," and exploring the aesthetic dimension of the creation of portrait painting by combining our own creative processes, examines the aesthetic dimension of the creation of portrait painting. The aim is to expand the breadth and depth of portrait painting creation and to enhance the artistic realm of portrait creation. This study article is broken up into eight chapters, which are as follows: The first chapter is an introduction, and it covers the rationale and objective of the investigation, as well as the content of the study and the method that was used to conduct the research. Chapter 2, the development of Western"portrait" painting This chapter describes the development of Western portrait painting in the process of political, economic, technological, cultural, and other factors and the development of the art of painting itself under the influence of the main characteristics of the style, as well as an analysis of the main style of each period of the aesthetic connotation of the classic portrait works. The concept of "iconography" as it relates to Western figurative painting is discussed in Chapter 3. This chapter examines the theories of Panofsky on the three levels of meaning of iconographic interpretation, Gombrich's theory on the language of image description and image symbolism, and W.J.T. Michel's "iconography" theory on the life of images. All three of these theories are discussed in detail. The progression of Chinese "portrait" painting is discussed in Chapter 4. This chapter examines the aesthetic connotations of representative portrait works with the characteristics of the times and explains the characteristics, main objects, purposes, and philosophical and aesthetic thoughts of the times in the creation of Chinese portrait paintings during different historical periods. Additionally, this chapter explains the characteristics of Chinese portrait paintings that were created during different historical periods. The Theory of"To Catch the Spirit with the Shape" in Chinese Painting, which is Covered in Chapter 5. This chapter provides an explanation of the aesthetic notion of "To Catch the Spirit with the Shape" by beginning with the understanding of the relationship that has been held between "Shape" and "Spirit" in various ages. The aesthetic facet of the development of portraits is covered in Chapter 6. In this chapter, we investigate the three dimensions of portrait creation: the representational dimension, the symbolic dimension, and the life dimension. This is done primarily from the point of view of the inner meaning of portrait painting, in conjunction with our own practice of creating portrait paintings. The framework for this chapter is"pictorialism," and the theory that underpins it is "To Catch the Spirit with the Shape." This chapter elaborates on the three series of works that were recently created, namely "Sunday Afternoon Tea," "Waiting for the Blossoms," and "Flower Means - Between Flowers," and analyzes their aesthetic connotation as well as the aesthetic dimensions that were presented. Chapter 7: Personal Creative Practice This thesis comes to a close with the eighth chapter, which provides a concise summary of the research. The creation of portrait painting, whether in the East or the West, is inextricably linked to the technology, economy, politics, and culture of each era, and possesses the aesthetic qualities of each era. The evolution of portrait production has evolved from the function of recording to the many functions of recording and expressing the symbolic expression of the artist's transmission of thoughts and emotions, as well as the expression of the zeitgeist and aesthetic quest. Numerous portraits created by previous and present artists have served as a reference for the creation and exploration of portrait painting. The theory of"Iconography" analyzes art images from the form of art to the political, economic, and cultural perspectives of the contemporary society, providing a method for interpreting portrait art as an image art and a broader dimension for the creation of portrait paintings with regard to formal style and penetrating deep meaning. The theory of "To Catch the Spirit with the Shape" requires art creation to not only show its form, but also the human being with vitality, to achieve the inner unity of life between "Shape" and "Spirit," and to provide the dimension of expression of life, experience of life, perception of life, and sublimation of life for the creation of portrait painting. The study of the aesthetic aspect of portrait painting creation absorbs the fundamental nutrients of Eastern and Western painting art as well as traditional painting art and gives a comprehensive comprehension of painting art theory. The study of the three dimensions of portrait painting creation, namely the representational dimension, the symbolic dimension, and the life dimension, not only broadens and deepens the author's own portrait painting creation, but also investigates how to base portrait painting creation in the age of informationized images, an era in which, due to the popularity and rapid development of photography, television, film, the Internet, and many other media characterized by images, a great number of people have become accustomed to viewing images. It seeks to provide a reference for integrating into life, investigating life, and producing a personalized, aesthetic, and connotative portraitpainting art that conforms to the aesthetic features of the era.