传统纹饰及形符在绘画艺术中的装饰性创作研究

发布时间：2018-02-08 15:10

本文关键词： 艺术家传统纹饰形符　出处：《山西师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：艺术家把对象的讯息，熔化在他的想象熔炉中，进而反刍发酵成形，而这种过程的结果，就是发现了一个造形形式的新世界。艺术虽无国界，但不可否认中国油画的发展曾受西方主流艺术文化的强势攻击。在新艺术环境的滋长中，众油画家都在提倡中国油画的民族化，并各有千秋。以我看来，中国传统纹饰及形符或许更能作为记录中国历史发展的另一种标志性信号，并承载着社会文明，这极具民族化的符号为何不能加以装饰用之以中国油画。而现代形构主宰着当代油画创作的构图形式，在画面形式感的创作中又独占鳌头。这两者的结合，可算是天作之合，在独具中国传统绘画精神的前提下且不失当代趣味。不论是否理想，但艺术之门终归应是敞开的，故此一试。本文虽用了大量的外国大师作品做指导，但对艺术创作者而言，自然才是一切灵感的源头。艺术家是自然的各种形式的发现者，透过与生俱来的本能感应，，加上知识、情感与想象力的总合运作，处理来自自然的记忆与幻想，将他的体验转换在媒材上，借助材质、色彩、空间等来进行创作，不是复制外在可见的事实，而是对实在的发现，在大自然形、色体态中参照、体认和融会后，展现艺术家的生命力。本创作研究首先透过文献分析的方式，以探究艺术工作者自身的绘画创作为主轴，透过笔者长期以来关注的装饰性图像课题研讨，结合创作实践之历程，来探讨中国传统纹饰的起源与发展、传统纹饰的象征意义以及对于形符、图案的观念、图式表现形式、图式在画面中的形构、图式的运用等，对绘画艺术的当代装饰性做诠释。
[Abstract]:The artist melts the message of the object in his imaginary melting pot, and then regurgitates and forms, and the result of this process is the discovery of a new world of formative forms. However, there is no denying that the development of Chinese oil painting has been strongly attacked by the mainstream western art culture. In the development of the new art environment, many oil painters are advocating the nationalization of Chinese oil paintings and have their own merits. In my opinion, Chinese traditional ornaments and charms may be more likely to serve as another iconic signal to record the development of Chinese history and bear the burden of social civilization. Why can't this extremely nationalized symbol be decorated with Chinese oil paintings? and modern configuration dominates the composition of contemporary oil paintings and dominates the creation of a sense of form. The combination of the two can be regarded as a combination of nature. On the premise of having the spirit of Chinese traditional painting and without losing the contemporary interest, whether ideal or not, the door of art should be open, so try it. This article uses a large number of foreign master works as a guide, but to art creators, nature is the source of all inspiration. Artists are the discoverers of nature in all its forms, through innate instinctive induction and knowledge. The combination of emotion and imagination, dealing with memories and illusions from nature, transforming his experience into a medium, creating with the aid of materials, colors, spaces, etc., is not a reproduction of external visible facts, but a discovery of reality. Referring to, recognizing and merging with nature in the form of nature and color, this creative research shows the vitality of the artist. First of all, through the way of literature analysis, this creative research takes the exploration of the artists' own painting creation as the main axis. Through the discussion of decorative image, which has long been concerned by the author, and combined with the course of creative practice, this paper discusses the origin and development of Chinese traditional pattern, the symbolic significance of traditional pattern, the concept of form symbol, pattern, and the form of schema expression. The form construction and application of schemata in the picture explain the contemporary decoration of painting art.
【学位授予单位】：山西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J522;J213

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