“呼愁”和我的风景画创作

发布时间：2018-01-22 07:05

本文关键词： “呼愁” 城市情感返朴归真　出处：《广西师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：笔者在三年研究生期间师从著名水彩画家王可大教授。恩师王可大教授平日里主要是以水彩、油画作为创作的媒介,尤以水彩画创作见长。其作品主要是以东北的乡土题材入画,风格温婉而含蓄,内蕴深沉；在表现手法上“神乎其技”,刻画上细致入微而又不失生动雅致,真乃我辈学习之楷模。所以平素里常以王老师为榜样,模仿其创作方法去描绘笔者家乡“桂林”之风景。除了手法上较之导师有差距外,更重要的是在王老师的作品的背后有一种深深的“乡土情结”,这种“乡土情结”深深的感染着我们,直击我们内心深处最隐秘的空间,唤起观者的想象和共鸣。而此种“乡土情结”到底为何物,吾一直都在找寻,但寻寻觅觅上下求索而不得。细细想来此种“乡土情结”并非只是停留在画面的外在形式,而更像是画面背后所表现出的“精神内涵”,正是这种“精神内涵”与观者之间的互动体现出画家创作的意图。一次偶然的机会笔者拜读了土耳其作家奥尔罕·帕慕克的作品《伊士坦布尔—一座城市的记忆》一书后,长久困扰笔者的疑问终于得到解答。在《伊士坦布尔—一座城市的记忆》一书中“乡土情结”被作者称之为“呼愁”。而这种“呼愁”有着丰富的,多方面深层次的内涵,它对整个阿拉伯世界的音乐,绘画乃至民族情感和认知上都产生了深刻的影响,同样也体现出伊斯坦布尔这座城市所具有的独特“精神意味”。体现在文字上的是在《伊士坦布尔—一座城市的记忆》一书中作者对于伊斯坦布尔这座城市细腻而深入的描写。“呼愁”已经渗人到了每个伊斯坦布尔人的“血咏”当中,内化为人们对于生活艺术的本质看法,塑造着人们的思想和情感,再外化为对于一座城市乃至一个国家的独特面貌和独特感情的认识——它是躲在风景背后的风景。所以在我们的风景画创作中不但是要表现出对象的外貌,更重要的是要捕捉到城市的风景背后这座城市所独有的“呼愁”,及“呼愁”形成的复杂原因。决定“呼愁”形成的各种复杂因素杂糅在一块形成了我们对于一个国家一个城市“特质”深刻而具体的认识,让我们可以透过画面的外在形式真正了解画面背后的“深意”。在土耳其作家奥尔罕·帕莫克的《从伊斯坦布尔一座城市的记忆中》被称之为“呼愁”的东西,它体现了作者独特的看待事物的角度。正是“这个角度”使得我们平常看似简单的事物显得如此生动感人,从而激发出读者内心深处的共鸣。本文意在探讨隐藏在绘画题材之外的“内蕴精神”,从“心理和精神层面”的高度去探讨绘画的意义及可能。并结合作者个人的创作体会说明这个问题。本文是从对《伊士坦布尔一一座城市的记忆》文本的解读开始的,主要包括以下三个方面的内容：1、“呼愁”一词的来源及意义,并比较伊斯坦布尔和桂林之间“呼愁”的各自特点和形成的内在原因。2、探讨了“呼愁”和绘画创作的内在联系及对于情感表达的重要决定作用。3、结合自己的创作说明“呼愁”对于笔者绘画创作的重要意义。本文的最终目的是要探索隐藏在画面形式背后更加本质的意义,是对于绘画意义及本质的探素,并提出了自己的解决方案。
[Abstract]:Graduate in three years under the tutelage of the author during the famous professor Wang Keda watercolorist. Mentor professor Wang Keda weekdays mainly watercolor painting as a creative medium, especially in the creation of watercolor painting known. His works are mainly northeast local theme painting style, gentle and subtle, deep connotation; in the expression "wonderful". Portray nuanced but lively and elegant, a model is really my generation learning. So usually often to Wang teacher for example, imitate the creation method to depict the scenery of my hometown "Guilin". In addition to tutor than skill gap, more important is behind in Wang's works have a deep the "rural complex", the "rural complex" deeply infected with us, we watch the innermost space, arouse imagination and empathy. The viewer "local complex" For what, I have been looking for, but looking down the search and not think carefully. This kind of "rural complex" is not only in the form of the picture, but more like behind the picture shown by the "spirit", it is the interaction between the viewer and the "spirit" reflects the intention the artist. A chance I read the Turkey writer Orhan Pamuk's works < Istanbul - memories of a city "a book, long plagued by this question finally answered." in Istanbul - memories of a city "a Book of" rural complex "by the author said for" huzn. This "huzn is rich, has deep connotation, it is for the entire Arabia world music, painting and national emotion and cognition will have a profound impact, the same Also reflects the city of Istanbul has a unique "spirit means" embodied in the text. The author is in "Istanbul - memories of a city" a book for the city of Istanbul fine and deep description. Huzn has the infiltration of to each of the Istanbul people's "blood" ", into people for the essential view of life art, shaping people's thoughts and feelings, and then transformed into unique features for a city and a country's unique feelings and understanding -- it is hiding in the scenery behind the scenery. So in our landscape painting creation is not only to show the appearance of the object, it is more important to capture the unique scenery of the city behind the city's" huzn "call, and complex reasons to worry" formation. "Decided to call mixture of various complex factors to worry" formation We know for a city a "national characteristics" deep and specific, formed in a piece so that we can truly understand the picture through the external form of the picture behind the meaning. In Turkey writer Orhan Pamok "from Istanbul city memory" is called "huzn. Something, it embodies the author's unique perspective. It is the point of view of" "makes our usual seemingly simple things seem so vivid and moving, which inspires the readers' innermost resonance. This paper is intended to explore the hidden in the painting theme" spirit ", from" psychological and spiritual height "to explore the significance of painting. And combined with the author's personal creation experience illustrates this problem.
This paper starts from the memory of < > text interpretation of Istanbul - the city, mainly includes the following three aspects: 1, "call the source and significance of sorrow" is a word, and compare between Istanbul and Guilin "characteristics of huzn and the formation of the inherent cause of.2." huzn and internal relations between painting and for an important role in determining.3 of emotional expression, combined with his creation shows "call important sorrow" for the author of painting creation. The ultimate purpose of this paper is to explore the hidden in the picture form behind the more qualitative significance is for this, probe into the meaning and essence of painting, and put forward their own solutions.

【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213

【共引文献】