浅论痕迹在中国水墨画中的运用

发布时间：2018-01-13 15:30

本文关键词：浅论痕迹在中国水墨画中的运用　出处：《湖北美术学院》2016年硕士论文　论文类型：学位论文

【摘要】：绘画是一种创造性劳动,艺术家会以他的世界观为指导,通过一定独特的创作方法,多多观察体验以及有选择的提炼来自于身边日常生活的大量材料,以生活为灵感源泉,为后期进一步塑造艺术形象做好准备。艺术创作这种精神生产劳动是一个复杂的过程,按照目的可以把它分为不同阶段,其中最初的准备材料阶段有个专有名词叫做“艺术体验”,在这个体验阶段,艺术家会把平时对生活的思考和感受,慢慢地在心灵里积淀积累并且伴有丰富的情感活动,。然后在这段过程的基础上,艺术家有意识地调动各种心理情感,对特定客观对象进行审美,体味和理解。这个体验阶段非常重要,它是创作的基础,没有体验就没有创作。“艺术体验”过程按照进行先后相继的过程可分为几个阶段,它们分别是感性材料的储备和积累经验;艺术体验和审美发现;最后是指创作欲望和动机的产生。在整个过程中,艺术家必然会自觉不自觉地从客观世界的各种因素中受到启迪,包括大自然和社会生活。这些生动活跃的元素,构成了艺术家的材料积累。弱水三千,变化万千,本文只取“痕迹”进行阐释。“痕迹”包括自然的痕迹和人为的痕迹,它们一直以来都属于客观世界带给艺术家的灵感要素。但痕迹到底是指什么?能不能在艺术圈得到认可,尤其是以历史悠久、承载国人精神而自居的中国水墨画创作,连笔墨之争都尚未平息,又如何能心服口服地接纳“痕迹”这样一个几乎推翻了先前所有笔墨正统性的新观念呢?它的内容又是什么?产生和发展为未来的水墨画创作实践提供了哪些启示?如今的中国水墨绘画无疑已经进入了一个多元开放的时代,水墨画形式尤其是“新水墨”,“实验水墨”的发展之快可以用日新月异来形容,各种多媒体、数码、装置等新科技、艺术新形式与水墨画结合起来,让人眼花缭乱,甚至觉得难以跟上潮流。而这种现象背后也反映了艺术的精神追求、艺术观念这些深层次的东西也在不断创新,变化着。作为一名艺术创作者,需要学会在这样眼花缭乱的表面现象中看清艺术的本质,探求艺术的理性价值。我们需要跳出既定的思维定式也许才能摆脱目前的困境,本课题的探讨油然而生。读研期间,本人在导师的推荐下,阅读了著名的湖北艺术家钟孺乾编著的《绘画迹象论》,我惊讶钟孺乾找到了这样一个智慧又理性的角度来探讨艺术价值,也惊讶于各种迹象证明了看似不起眼的“痕迹”一直在艺术发展实践中的重要作用。本人也因为对“痕迹”的着迷,所以自己的毕业创作也进行了有关痕迹的技法实验,得到了多年绘画实践中没有出现过的新效果,不仅如此,也在创作过程中体会到了前所未有的绘画乐趣。本文将从中国水墨画的角度入手,结合自己的创作经验积累,试图探索“痕迹”对于当今中国水墨画发展的存在意义。
[Abstract]:Painting is a kind of creative labor, the artist will be guided by his worldview, through a certain unique creative methods, more observation and experience, as well as selective extraction from the daily life around a large number of materials. Taking life as the source of inspiration and preparing for further shaping the artistic image in the later period, artistic creation is a complex process of spiritual production labor, which can be divided into different stages according to the purpose. One of the initial preparatory material stage has a proper term called "art experience", in this experience stage, the artist will usually think about life and feelings. Slowly accumulated in the mind and accompanied by rich emotional activities. Then on the basis of this process, the artist consciously mobilize a variety of psychological feelings, to a specific objective object aesthetic. This stage of experience is very important. It is the basis of creation. There is no creation without experience. The process of "artistic experience" can be divided into several stages according to the successive process. They are the storage of perceptual materials and the accumulation of experience. Artistic experience and aesthetic discovery; Finally, it refers to the creation of desire and motivation. In the whole process, the artist will be consciously or unconsciously inspired by the various factors of the objective world. Including nature and social life. These lively and active elements constitute the accumulation of materials for artists. Weak water 3,000, changing thousands. This article only takes "trace" to explain. "trace" includes the trace of nature and the trace of man. They have always been the inspiration elements of the objective world to the artist. But what exactly does the trace mean? Can be recognized in the art circle, especially with a long history, bearing the spirit of the Chinese ink painting and self-styling, even the brush and ink dispute has not yet subsided. How can we accept the "trace" as a new concept that has almost overturned the orthodoxy of all previous pen and ink? What's its content? What enlightenments have been provided by the emergence and development of the future ink painting creation practice? Today's Chinese ink painting has undoubtedly entered a pluralistic and open era, ink painting forms, especially "new ink", "experimental ink" rapid development can be described with rapid change, a variety of multimedia. Digital, installation and other new technologies, new forms of art and ink painting combined together, dazzling, even find it difficult to keep up with the trend, and this phenomenon also reflects the spiritual pursuit of art. As an art creator, it is necessary to learn to see the essence of art in such dazzling surface phenomena. Explore the rational value of art. We need to jump out of the established thinking formula may be able to get rid of the current predicament, this topic arises spontaneously. During my graduate school, I was recommended by my tutor. After reading the famous Hubei artist Zhong Yi Gan's "on the signs of painting", I was surprised that Zhong found such a wise and rational angle to explore the value of art. I am also surprised by the evidence that the seemingly insignificant "trace" has always played an important role in the practice of artistic development. I am also fascinated by the "trace". So my graduation creation also carried on the relevant trace technique experiment, obtained many years of painting practice has not appeared in the new effect, not only that. Also in the process of creative experience of unprecedented painting fun. This article will start from the perspective of Chinese ink painting, combined with their own creative experience accumulated. This paper attempts to explore the existential significance of "trace" for the development of Chinese ink painting.
【学位授予单位】：湖北美术学院
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J212

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