中国当代水性材料绘画语言研究

发布时间：2018-06-10 00:38

本文选题：中国当代 + 水性材料绘画　；参考：《东北师范大学》2017年博士论文

【摘要】：20世纪中国美术发展史,是对民族优秀传统文化的批判与继承的历史,亦是对西方艺术思潮的借鉴与吸纳的历史。中国水性材料绘画语言的发展,可以说是在民族优秀传统的继承发展与西方艺术精华的借鉴与吸收中前行的。因此,中国水性绘画材料绘画语言由传统形态逐步转变为现代形态是一个渐进的过程。在此过程中,融合了艺术家们对民族文化精华的坚守,同时也饱含了对西方水性材料绘画的借鉴与吸收。本论文对中国当代水性材料绘画语言的衍变与特征进行了系统梳理,同时结合作者本人在水性材料绘画语言上的多年探索与实践,力图为当代中国水性材料绘画语言的发展贡献绵薄之力。论文共分为如下七个部分:第一部分是引论,主要介绍中国当代水性材料绘画语言面临的问题与挑战、本论文研究的意义与价值以及相关文献的梳理与论文的创新点。中国水性材料绘画语言在自身的发展中存在着一定的局限性,比如颜料运用的单一性、基地选用的束缚性、表现技法的程式化等等。这种局限性迫切需要中国水性材料绘画语言的创新,因为艺术的发展规律具有多种文化相互融合、创新发展的特点。因此,当代中国水性材料绘画语言不仅仅需要对中国传统文化精髓的继承发展,同时更需要对西方文化积极方面的大胆借鉴,从而促进中国当代水性材料绘画语言的快速发展。第二部分是对西方水性材料的艺术实践对中国当代水性材料绘画语言的影响分析。西方水性材料绘画语言有着自身的独特性,如在色彩语言上具有观念性、情感性与寓意性;在线性语言上具有运动性与方向性;在光色语言上具有光色和谐与光影闪烁性。这些特点是中国传统水性材料绘画语言所不具备的。因此,西方水性材料的艺术实践对中国当代水性材料绘画语言带来了新的转变,促进了中国绘画的现代转换。第三部分对中国水性材料绘画语言的内在生命进行了深入发掘与剖析。中国传统水性材料绘画在线条、明暗、色彩等形式方面独具特色,在画面中又具有天人合一的精神境界、佛禅的空灵相融、追求伦理道德等诸多特点,这些特点在具体的作品中呈现出了气韵生动、因心而动和情景交融的意境之美,同时也延展出以意赋色的主观之美、以情赋色的和谐之美和以形写神的造型之美。这些民族特色是中国当代水性材料绘画的生命力所在,也是其走向世界实现创新的内在驱动力。第四部分是对中国当代水性材料绘画语言的艺术实践阐释。中国水性材料绘画语言形在载体、题材、色彩、技法、意境等方面都有着自身的特点,水性材料绘画语言在中国语境中体现着透明性与非透明性的融合、浓与淡的结合、肌理的丰富性、水性材料的创新性、抽象概念的吸纳与“写意”观念的传承特点,他们共同构成了水性材料绘画语言在中国语境中的多种样态。第五部分是对中国水性材料绘画语言的艺术范型举隅。主要对林风眠、吴冠中、王肇民三位艺术家的选用材料与表现风格进行了分析。林风眠是将东西方绘画因素有机融合的典型代表,他用线条打破了元以后的笔墨体系,同时使用水彩、水墨、水粉把浓重的色彩与艳丽的视觉形象统一起来;吴冠中在水墨画中灌注了西方绘画艺术的形式主义,将水墨画中的线面构成与西方水性材料绘画语言的块面构成有机融合,从而体现出了视觉的张力与色彩的丰富性;王肇民对光影的变化及形体的认识有着独到性,在其作品中呈现出国画的笔法、油画的色彩、素描的功力和诗的境界。第六部分是对当代中国水性材料绘画语言的应用与思考。当代中国水性材料绘画语言在构图上不仅要考虑主次关系、物像之间的聚散虚实、色彩搭配等问题,同时需要考虑文化理念与文化迹象的渗透。在装饰应用中体现出黑白装饰、重彩装饰、水墨装饰的表现形式。由此可以看出,当代中国水性材料绘画语言在多元整合、民族性与人文主义内涵等诸多方面不断推陈出新。第七部分是论文的结语,论文强调艺术的魅力在于个性的张扬与不同文化的相互融合。理解当代中国水性材料绘画语言必须置身于当代社会发展的时代背景,置身于不同文化之间的相互交融。因为不同的文化话语带来不同的理念,也同时带来不同的艺术精神。这就需要从事水性材料绘画的艺术家们在艺术的征程上勇于实践、不断钻研探索,在民族性与域外文化交融中促进当代中国水性材料绘画语言的丰富与创新。
[Abstract]:The history of Chinese art development in twentieth Century is a history of criticizing and inheriting the excellent traditional culture of the nation. It is also a history of reference and absorption of the western art trend of thought. The development of Chinese water-based material painting language can be said to be in the course of reference and absorption of the inheritance and development of national excellent traditions and Western art. It is a gradual process that the painting language of sexual painting is gradually transformed from traditional form to modern form. In this process, the artists' adherence to the essence of national culture and the absorption and absorption of Western water-based material painting are also filled. This paper is on the evolution and characteristics of contemporary Chinese water-based materials painting language. The thesis is divided into seven parts: the first part is the introduction, which mainly introduces the problems and challenges facing the Chinese water based material painting language. The significance and value of this study and the combing of relevant literature and the innovation of the paper. There are certain limitations in the development of Chinese water-based materials painting language, such as the singleness of the use of pigments, the binding of the selection of bases, the stylization of performance techniques and so on. This limitation urgently needs Chinese water-based materials painting. The innovation of language, because the law of the development of art is characterized by the integration of various cultures and the characteristics of innovation and development. Therefore, the contemporary Chinese water-based material painting language needs not only the inheritance and development of the essence of Chinese traditional culture, but also the great use of the western culture to promote the contemporary Chinese water-based material painting. The rapid development of language. The second part is the analysis of the influence of the art practice of Western water-based materials on Chinese contemporary water-based material painting language. The Western water-based material painting language has its own uniqueness, such as the concept, emotion and meaning in the color language; the online language has movement and direction; in the light color Language has light color harmony and light and shadow flicker. These features are not available in Chinese traditional water-based materials painting language. Therefore, the art practice of Western water-based materials has brought a new transformation to Chinese contemporary water-based materials painting language and promoted the modern transformation of Chinese painting. The third part of the Chinese water-based materials painting language The inner life has been deeply excavated and analyzed. The traditional Chinese water-based material painting is unique in the form of line, shade, color and so on. In the picture, it has the spiritual realm of harmony between heaven and man, the spiritual harmony of Buddhism and Zen, and the pursuit of ethical and moral characteristics. These features are vivid in the specific works and are moved by the heart. The beauty of the artistic conception of harmony with the scene also extends the beauty of subjective color, the beauty of harmony and the beauty of the shape of the God. These national characteristics are the vitality of the contemporary Chinese water material painting and the inner driving force to realize the innovation in the world. The fourth part is the contemporary water material in China. The interpretation of the art practice of the painting language. The language of Chinese water material painting has its own characteristics in the carrier, subject, color, technique and artistic conception. The water material painting language embodies the fusion of transparency and non transparency in the Chinese context, the combination of thick and light, the richness of the texture, the innovation and abstract concept of the water-based materials. In the fifth part, the fifth part is an example of the art model of Chinese water-based materials painting language, which mainly analyzes the selection material and expression style of the three artists of Lin Fengmian, Wu Guanzhong and Wang Zhaomin. The wind sleep is a typical representative of the organic integration of the East and west painting factors. He broke the pen and ink system after the Yuan Dynasty. At the same time, he used watercolor, ink and water to unite the heavy color with the bright visual image. Wu Guanzhong perfused the formalism of Western painting in the ink painting, and made the line surface in the ink painting to the West. The block surface of the painting language of the square water material constitutes an organic fusion, which embodies the visual tension and the richness of the color; Wang Zhaomin has the uniqueness of the change of light and shadow and the understanding of the form. In his works, it presents the style of the Chinese painting, the color of the oil painting, the power of the sketch and the realm of the poem. The sixth part is about the contemporary Chinese water-based materials. The application and thinking of material painting language. The contemporary Chinese water-based material painting language should not only consider the relationship between the primary and secondary, the virtual reality and the color collocation among the objects, but also the infiltration of cultural ideas and cultural signs. In the decorative application, the form of black and white decoration, heavy color decoration and ink and ink decoration are reflected in the decorative application. This can be seen that the contemporary Chinese water-based materials painting language in the integration of multiple, national and humanistic connotation, and many other aspects of the new. The seventh part is the conclusion of the thesis, the thesis emphasizes that the charm of art lies in the development of individuality and the integration of different cultures. The background of the development of the contemporary society lies in the blending of different cultures. Because different cultural discourse brings different ideas and brings different artistic spirit at the same time, it is necessary for the artists who are engaged in the painting of water-based materials to be brave in the journey of art, to continue to study and explore, and to make the national and extraterritorial culture. Fusion promotes the enrichment and innovation of contemporary Chinese waterborne material painting language.
【学位授予单位】：东北师范大学
【学位级别】：博士
【学位授予年份】：2017
【分类号】：J205

【参考文献】