论水彩画的观念意味

发布时间：2018-04-23 01:29

本文选题：颓势状态 + 观念　；参考：《四川师范大学》2010年硕士论文

【摘要】： 在当今国内水彩的现状分析中,创作者对精神性的强调与自觉性地探索仍是眼下主要面临的一个问题。当实践的探索到了一定阶段的时候,对理论的探讨、梳理是必要的。从展览、地域特征、理论体系等几方面的情况来看,水彩画的创作看似百花齐放,但其中却是一种颓势状态在蔓延着。水彩的创作表现存在着缺狂、多狷、伪中庸三种姿态,它们是长期以来被人们忽视的问题源由。水彩创作中所存在的这些现象,我在实践之前便尝试着选择一种观念意味的思考方向进行创作,并在实践中加以探究,试图不为伪态度所左右,希望在自身的创作以及认识上可以产生变化。作品是作者的观念折射,在水彩画面上寻求观念的转变是与水彩画种自身发展有着不谋的暗合。观念是人们在有了实践体验之后对事物的一种认识,代表着一种理性,在绘画作品中将创作者的思想意识传达出来。“意味”,是指作品的含意韵味,是继“观念”后对水彩画面的一种强调,在画面中应该有一定的意思和味道,在作品中能够表现出深层的含意。观念意味不仅在于形式,也在于精神,它可以崇中庸,也可狷介,甚至可以狂。观念意味作为一种创作思维来说,它也许能够会对当下的水彩画创作现状产生一定的思考作用,它与光的折射、果实的生长一样,是一个过程,一种发展中的需要。在水彩自身语言的基础上,对自身探寻的观念意味运用于水彩创作的实践中,并对作品中的观念意味进行分析和阐述,在创作中不断对水彩学科的发展方向的可能性作出思考。本文主要从展览、相关文献资料以及自我的实践认识几方面进行客观分析和理论探讨来推进课题的研究,坚持以求实的精神和个人对学科的认识所提出的浅识见解。通过对该课题的研究,使自身加深了对水彩画的观念意味的了解,从当今水彩画创作所表现的“缺狂”、“多狷”、“伪中庸”等不足之处出发,在现有的理论指导下,尝试性地探讨观念意味对水彩画的创作思路可能存在的影响和实践方式。未来的水彩画应该有更广阔的发展前景和更加丰富的观念形态和表现方式。
[Abstract]:In the analysis of the present situation of domestic watercolor, the creators' emphasis on spirituality and conscious exploration is still a major problem. When the practice of exploration to a certain stage, the theoretical discussion, combing is necessary. From the exhibition, regional characteristics, theoretical system and other aspects, the creation of watercolor seems to be in full bloom, but it is a state of decadence. There are three kinds of postures of watercolor creation, which are lack of fanaticism, plural and pseudo-mediocre, which have been neglected for a long time. These phenomena in watercolor creation, I tried to choose a kind of thinking direction before practice, and in practice to explore, trying not to be affected by pseudo-attitude. Hope in their own creation and understanding can be changed. The work is the author's idea refraction, seeking the change of the idea on the watercolor painting surface is with the watercolor painting own development has the unsolicited secret agreement. Concept is a kind of understanding of things after people have practical experience, representing a kind of rationality, which conveys the creators' ideology in painting works. "meaning" refers to the meaning and lasting appeal of the work. It is a kind of emphasis on the watercolor surface after "concept". It should have certain meaning and taste in the picture, and can show deep meaning in the work. The meaning of idea lies not only in form but also in spirit, it can worship the mean, it can be honest, and it can even be mad. Concept as a creative thinking, it may be able to create the current situation of watercolor painting to a certain extent, it is like the refraction of light, the growth of fruit, is a process, a need in the development. On the basis of watercolor's own language, the author applies the concept meaning of his own exploration to the practice of watercolor creation, and analyzes and expounds the concept meaning in his works, and constantly thinks about the possibility of the development direction of watercolor subject in his creation. This article mainly carries on the objective analysis and the theory discussion from the exhibition, the related literature material and the self-practice cognition several aspects to push forward the research of the subject, insists with the realistic spirit and the personal understanding to the discipline the shallow understanding view. Through the research on this subject, we have deepened our own understanding of the concept of watercolor painting, and started from the shortcomings of the present watercolor painting creation, such as "lack of madness", "more valiant", "pseudo-middle mean" and so on, under the guidance of the existing theory. This paper tries to probe into the possible influence and practice of the concept meaning on the creative thinking of watercolor painting. The future watercolor painting should have a broader development prospect and a richer concept and expression.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J215

【参考文献】