摘要

　　　随着当前中国人物画的发展，中国传统的国画创作方式已被打破了，工笔重彩人物占有很重要的地位。中国本土绘画在唐代就受到西方绘画的影响（如敦煌壁画中的凹凸法等），但在总体上由于中原文化的强盛还是基本保持了顾恺之以来的基本格局。本创作将工笔人物画法技法与中国传统绘画中的写意精神相结合，力图在谙熟的面孔中发现曾经被忽略的东西,并由此引发出新的灵感,创作出既有时代感又有传统意味的作品。

关键词：色调；技法；意境

ABSTRACT

　　　Along with the development of the Chinese figure painting, traditional Chinese painting creation has been broken, fine brushwork characters occupy very important position. Chinese painting in the Tang Dynasty was influenced by the western painting ( such as the Dunhuang murals in the concave and convex method ), but in general as the Central Plains culture still remained strong since Gu Kaizhi's basic pattern. This creation will fine brushwork figure painting techniques and traditional Chinese painting of freehand spirit together, in order to familiar faces that have been overlooked, resulting in a new inspiration, creation of both contemporary and traditional means of works.

Keywords: Tone; technique; artistic conception