浅论画面结构与物质感

发布时间：2018-03-15 01:24

本文选题：二维　切入点：画面结构　出处：《中央美术学院》2013年硕士论文　论文类型：学位论文

【摘要】：本论文分析了绘画中画面结构与物质感的关系。从正面论证现当代绘画的母题——画面结构的探索,绘画的全部意义和局限。照相机的发明到纸质媒体的发展壮大,使绘画作为宗教画宣传画、文学叙事抒情上低效耗时。马奈、塞尚到蒙德里安开启了现代主义之后绘画的母题。绘画的意义和功能拓展定形,改变了人们以往解读画面故事情节的观看方式。物质感的渗入源于印象派画家对笔触的运用,毕加索拼贴作品的出现,观看方式又一次发生变革——对可触可摸的物质的强烈视觉反应和随之产生的心理共鸣。从颜料物质意识的确立到非常规物质材料天马行空的运用,从绘画造型和色彩语言一统天下,到材料语言横空出世。同时,利用材料语言深入直观的理解画面结构,加强建立和运用画面结构的能力,相反结构的“有力”为物性绘画带来了理性严整的创作方式和强大坚实的观看标准。物质材料在结构的支撑下淋漓出丰沛的视觉张力和经验的共鸣。然而新的观看方式带给绘画新的契机的同时也面临危机。一味注重物质感,而不在结构上好好把握,夸大物质的某种力量是危险的,最终导致二维“软弱无力”,走入三维,变得即不是装置也不是画。此外,本文还列举了一些利用材料语言加强对画面结构理解认识的方式。在体会什么是结构的同时丰富了材料语言的经验。
[Abstract]:This paper analyzes the relationship between picture structure and material feeling in painting. From the positive demonstration of the motif of modern and contemporary painting, the exploration of picture structure, the whole meaning and limitation of painting, the invention of camera to the development of paper media, To make painting as a religious painting propaganda painting, literary narrative lyrical inefficient time-consuming. Manet, Cezanne Mondrian opened the post-modernist painting motif. It changed the way people used to read the plot of the picture. The infiltration of material sense originates from the use of brush strokes by Impressionist painters and the emergence of Picasso's collage works. Once again, the way of watching changes-the strong visual reaction to touchable matter and the resulting psychological resonance, from the establishment of awareness of pigments to the use of unconventional materials. From painting modeling and color language to the emergence of material language. At the same time, the use of material language to understand the picture structure, strengthen the ability to establish and use the picture structure, On the contrary, the "strength" of the structure brings a rational and strict creative style and a strong and solid viewing standard for the material painting. The material material, supported by the structure, is full of visual tension and empiric resonance. However, the new view. The way of looking brings new opportunities for painting and at the same time faces a crisis. It is dangerous to exaggerate a certain force of matter without grasping it structurally, leading to two dimensional "weakness", going into three dimensions, becoming neither a device nor a painting. In addition, this paper also lists some ways to strengthen the understanding of the picture structure by using the material language, which enriches the experience of the material language as well as the understanding of what the structure is.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205

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