西藏少数民族题材水彩画研究

发布时间：2018-05-09 00:10

本文选题：水彩人物画 + 西藏　；参考：《西安美术学院》2017年硕士论文

【摘要】：水彩画属于舶来品,传入我国已经有百余年历史。1999年,中国第九届全国美术作品展中,将水彩画与国画、油画并列成为第三大画种予以独立展览,这一标志性事件使得水彩画在“名分”上摆脱了“小画种”的历史局面。值得注意的是,二十余年来,我国水彩人物画的快速发展为水彩画地位提升做出了不少贡献。在发展中,水彩人物画灵活吸收中国画和油画的现实主义经验及表现技巧,在题材上也获得多元化发展,尤其是少数民族题材日益得到业界和社会关注,已成为我国水彩人物画的重要组成部分。在现当代美术格局中,西藏题材一直饱受青睐,除了文艺政策的导引之外,西藏独具特色的自然环境,人文历史、风土人情、宗教信仰等都是吸引和调动艺术家创作欲的重要元素。作为后起之秀的水彩画种,自然也不例外。本文对西藏题材人物水彩画的探讨,旨在建立于西藏题材绘画的深厚基础之上,梳理该类题材水彩人物画发展的基本脉络、艺术特征及其与西藏自然环境和人文特征的内在联系。故而,本文采用了文献阅读法、图像分析法、比较研究等方法,搜集大量资料,在纵向上梳理出西藏少数民族题材水彩人物画的发展脉络以及不同阶段所取得的艺术成就。在横向上与西方水彩人物画进行对比,总结出藏族题材水彩人物画的特点、艺术高度以及自己创作中的心得体会。为了能有更多的理论对藏族水彩人物画题材创作有进一步的指导作用,创作出更优秀的作品。促进藏族与其他民族文化交流、增进民族之间的认同、融合和凝聚力。本文力图起到一个抛砖引玉的作用,希冀此类题材能够引起更多画者和美术理论研究者的关注,从而不断壮大水彩人物画理论研究的人才队伍,进一步提高藏民水彩画人物理论,对今后的西藏少数民族题材水彩人物画创作有所帮助,促使西藏少数族水彩画人物创作得到全面提升。
[Abstract]:Watercolor painting belongs to foreign goods. It has been introduced into China for more than 100 years in.1999 years. In the Ninth National Art Exhibition of China, water color painting, Chinese painting and oil painting are the third major paintings to be displayed independently. This landmark event made watercolor painting out of the historical situation of "small painting" in the "name". It is noteworthy that In the past twenty years, the rapid development of Chinese watercolor figure painting has made a lot of contributions to the promotion of the status of watercolor painting. In the development, the watercolor figure painting absorbs the realistic experience and expressive skills of Chinese painting and oil painting flexibly, and has also gained diversified development in the subject matter, especially the minority subjects have become increasingly concerned by the industry and society. As an important part of Chinese watercolor figure painting, in the present and contemporary pattern of art, the subject of Tibet has been favored. In addition to the guidance of literature and art policy, Tibet's unique natural environment, human history, customs and religious beliefs are all important elements to attract and arouse the creative desire of the artists. On the basis of the deep foundation of Tibet subject painting, this paper aims to discuss the basic context of the development of the watercolor figure painting of this kind of subject, the artistic features and the inherent connection with the natural and humanistic features of Tibet. Therefore, this article adopts the literature reading method and the image analysis. The method, comparative study and so on, collect a lot of information, carding the development vein of the watercolor figure painting of Tibet minority subject and the artistic achievements in different stages in the longitudinal direction, comparing with the Western watercolor figure painting horizontally, summarizing the characteristics of the watercolor figure painting of the Tibetan subject, the artistic height and the heart of his own creation. In order to have more theories to further guide the creation of the subject of Tibetan watercolor figure painting, create more excellent works, promote cultural exchanges between Tibetans and other ethnic groups, promote national identity, integration and cohesion. This article tries to play a role in throwing bricks into jade and hoping that this kind of subject can cause more. The attention of the painter and the art theory researchers, thus continuously strengthen the talent team of the theoretical research of watercolor figure painting, further improve the theory of the people in the Tibetan water color painting, and help the Tibet minority nationality watercolor figure painting in the future to promote the comprehensive promotion of the creation of the minority water color paintings in Tibet.

【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J215

【参考文献】