水性材料的创新与应用
发布时间：2018-07-18 09:26
【摘要】：水彩进入中国二百多年的历程里,没有哪一次像今天一样被越来越多的观众喜爱,也因此出现在各大画展上,人们不仅因为被水彩水色晕染的效果吸引驻足,而且越来越多的绘画爱好者开始学习水彩。在许海刚老师的水粉及水彩类金奖后,越来越多的艺术家开始运用水彩创作,同时在实践的过程中加深了对水彩的理解并对水彩做了新的定义:即任何在纸本上的水性材料都可以称为水彩。现在我们可以在各大征稿的展览里看到水性材料的作品正在成为他们不可忽视的一部分,我们也可以在很多画展上看到更多年轻艺术家的水性材料的作品在画展里展出,这些年轻的艺术家给水彩的发展注入了新的活力。同时也出现了令人忧心的一点,这种担忧渐渐的被很多观画之人发现,这就是在不同画展览中,我们经常发现会出现很多相似的水彩画,给人产生的错觉就是在这些不同的展览里展出的或得奖的水彩作品出自同样几个人的手笔。这类撞车现象让很多看画的人产生了视觉的审美疲劳。画画的人都清楚这是什么造成的,他们也在反思怎么样让观赏画的人改变有这样的感觉。作为前辈们的崇拜者,这种崇拜不仅是技术上的模仿,更多的是创作内容上无法达到前辈们的作品深度,所以导致很多画者在题材内容选择很容易缩小范围出现撞车。事实上,造成这种现象的原因不单单是没有对水彩从材料的创新和内容表达上的创新,而是不知道水性材料如何在材料和内容上创新,如果不改进水性材料是不可能打破这样的现象。本论文讨论和介绍的是水性材料如何在材料和内容上创新和我们结合当代艺术观念通过何种方式把水性材料中国化方法的设想。
[Abstract]:In the course of more than 200 years of watercolor entering China, no one has been loved by more and more audiences as it is today. As a result, it has also appeared at major art exhibitions. People are not only attracted to stop by the effect of watercolor dizziness. And more painting lovers began to learn watercolor. After teacher Xu Haigang's water powder and watercolor gold medal, more and more artists began to use watercolor to create. At the same time, in the process of practice, it deepens the understanding of watercolor and makes a new definition of watercolor: any water-based material on paper can be called watercolor. Now we can see in the exhibitions of the major manuscripts that the works of water-based materials are becoming a part of them that can not be ignored. We can also see at many exhibitions that more young artists' works of water-based materials are on display at the exhibition. These young artists inject new vitality into the development of watercolor. At the same time, there is also a worrying point. This concern has gradually been discovered by many painters. This is that in different exhibitions, we often find that there are many similar watercolor paintings. The illusion is that watercolor works exhibited or awarded in these different exhibitions are written by the same people. This kind of car crash makes many people who look at paintings have visual aesthetic fatigue. Painters know what this is, and they are reflecting on how to change the feeling of the viewer. As the admirers of the predecessors, this worship is not only a technical imitation, but also the creation content can not reach the depth of their works, so many artists in the subject matter selection is easy to narrow down the scope of car crash. In fact, the reason for this phenomenon is not simply the lack of innovation in terms of material and content expression for watercolor, but the lack of knowledge of how water-based materials innovate in material and content. It is impossible to break this phenomenon without improving water-based materials. This paper discusses and introduces how water-based materials are innovated in materials and contents and how to make water-based materials Chinese by combining with contemporary artistic concepts.
【学位授予单位】：湖北美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J215
本文编号：2131478
[Abstract]:In the course of more than 200 years of watercolor entering China, no one has been loved by more and more audiences as it is today. As a result, it has also appeared at major art exhibitions. People are not only attracted to stop by the effect of watercolor dizziness. And more painting lovers began to learn watercolor. After teacher Xu Haigang's water powder and watercolor gold medal, more and more artists began to use watercolor to create. At the same time, in the process of practice, it deepens the understanding of watercolor and makes a new definition of watercolor: any water-based material on paper can be called watercolor. Now we can see in the exhibitions of the major manuscripts that the works of water-based materials are becoming a part of them that can not be ignored. We can also see at many exhibitions that more young artists' works of water-based materials are on display at the exhibition. These young artists inject new vitality into the development of watercolor. At the same time, there is also a worrying point. This concern has gradually been discovered by many painters. This is that in different exhibitions, we often find that there are many similar watercolor paintings. The illusion is that watercolor works exhibited or awarded in these different exhibitions are written by the same people. This kind of car crash makes many people who look at paintings have visual aesthetic fatigue. Painters know what this is, and they are reflecting on how to change the feeling of the viewer. As the admirers of the predecessors, this worship is not only a technical imitation, but also the creation content can not reach the depth of their works, so many artists in the subject matter selection is easy to narrow down the scope of car crash. In fact, the reason for this phenomenon is not simply the lack of innovation in terms of material and content expression for watercolor, but the lack of knowledge of how water-based materials innovate in material and content. It is impossible to break this phenomenon without improving water-based materials. This paper discusses and introduces how water-based materials are innovated in materials and contents and how to make water-based materials Chinese by combining with contemporary artistic concepts.
【学位授予单位】：湖北美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J215
【相似文献】
相关期刊论文 前10条
1 姚崇维;谈普宁寺十八罗汉壁画中的晕染[J];承德民族职业技术学院学报;2003年01期
2 起加平;;墨点的晕染——横版水墨画相册的设计[J];人像摄影;2011年03期
3 陆舜冬;;童年[J];宝藏;2013年09期
4 姚崇维;承德普宁寺十八罗汉壁画晕染手法浅论[J];承德民族师专学报;2003年03期
5 易沁钰;;高原交响[J];草地;2008年04期
6 王宁;;心态清雅气自华[J];决策探索(上半月);2012年05期
7 张新建;;彩墨淋漓 晕染天地 张新建水墨画赏析[J];艺术市场;2012年10期
8 张元;;融入欧洲油画源头晕染东方传统神彩[J];现代企业文化(上旬);2009年07期
9 张颂仁;;光的魔法[J];大美术;2008年02期
10 薄荷;;天放娇艳[J];旅游纵览;2010年10期
相关重要报纸文章 前2条
1 金正惠;墨色晕染的古典气息[N];中国艺术报;2013年
2 林娟;水墨交融晕染出个性化人物[N];福建日报;2008年
相关硕士学位论文 前2条
1 王红伟;数字国画晕染效果的宣纸再现理论与方法研究[D];曲阜师范大学;2015年
2 徐正清;水性材料的创新与应用[D];湖北美术学院;2017年
，本文编号：2131478
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2131478.html
