鼓浪屿之韵
发布时间：2018-08-07 17:44
【摘要】：初见鼓浪屿,还仅是十七岁青涩之年,如今想起那个夏天,却还是记忆犹新。我与鼓浪屿的情缘开始在那时,延续到了今日直至未来。如今,我有幸每日居住于这个美丽的海上花园,每天每夜走在这里,和她相依相偎,轻嗅她最真实的芳香。对我来说,唯有用自己的绘画语言来表达对她深深的喜爱,才会让这份喜爱显得更为真切。想要描绘出一个美丽真实的鼓浪屿,一定不是一件容易的事情。这个岛屿有着与生俱来的的独特,特别的历史、特别的韵味。她所拥有的建筑,就与海对面的厦门岛形成了鲜明的对比。历史能给予她的,是那么多让人惊叹的美好画面。鼓浪屿的别墅,她们有着属于自己的故事,那么多的名人大家都曾流连于此。鼓浪屿的花草树木、海浪沙滩也都为这个海上花园增添了别样的生机,我的创作素材当然也离不开她们。鼓浪屿的山水,多的是布满树木的山体和偶尔突出的大石,加上高高低低的别墅群,这纯然是天然和人文的完美结合。但是这样的组合被合理地安排在国画作品的画面中,有时却显得有些困难,需要考虑的不仅是国画作品本身的创作手法,还需要考虑如何将欧式建筑和国画表现方式完美地融合在一起,并且能很好地表现出鼓浪屿的韵味,形成属于自己的画面。解决好这样的难题,既是挑战,也是创新。西洋风景画多采用对景写生的方式进行创作,画面中的布局安排时常很难大跨度地跳跃出局部的景致,虽然画面整体显得逼真,但有时候也难免因此减弱了人本能的巨大想象空间。因此,我在我的国画作品中进行了创新性的尝试,虽然布景中多半是鼓浪屿的西式楼房,但恰恰利用鼓浪屿有别于其他地方的这种独特景致来重新组合画面。通过组合,来体现建筑的韵律,组合出画面的疏密节奏感。利用楼房由近及远的布局安排,将独栋的建筑物进行组合,进而形成一个个新的整体,画面中穿插大大小小的植被,她们最终都统一在一个画面中。此外,在此系列的作品中,我选择了不同的表达方式来表现画面,有的以工笔形式为主,,有的以写意形式为主,有的则兼工带写。画面以设色为主,突出鼓浪屿建筑中色彩鲜明的红砖、灰墙、白柱等等。布局上,注重画面疏密安排,用富有节奏感的布局来谱写鼓浪屿乐章。技法上,尝试各种制作肌理的方式来丰富画面。通过这一个系列的画面来诠释鼓浪屿,最终来实现我的“鼓浪屿之韵”。
[Abstract]:When I first saw Gulangyu, I was only seventeen years old. Now I think of that summer, but it is still fresh in my memory. My love affair with Gulangyu began at that time, extending to today and into the future. Now I have the privilege of living in this beautiful garden of the sea every day, walking here every night, snuggling with her, smelling her truest fragrance. To me, only the expression of her deep love in her own painting language will make this love more real. It must not be easy to paint a beautiful and real Gulangyu. The island has its own unique, special history and special flavor. The building she owns is in sharp contrast to Xiamen Island across the sea. History can give her so many amazing beautiful pictures. Gulangyu villas, they have their own story, so many celebrities have hung around here. Gulangyu flowers, trees, waves and beaches have also added a different life to this maritime garden, my creative material is certainly inseparable from them. The mountains and waters of Gulangyu are filled with trees and occasionally protruding stones, and the villas are high and low, which is a perfect combination of nature and humanity. However, such a combination is reasonably arranged in the picture of traditional Chinese painting works, but sometimes it is somewhat difficult to consider, not only the creative techniques of the traditional Chinese painting works themselves, but also the way in which the traditional Chinese painting works are created. We also need to consider how to integrate the European architecture and the Chinese painting expression way perfectly, and can well display the charm of Gulangyu, form their own picture. To solve such a difficult problem is not only a challenge, but also innovation. Western landscape paintings are often created in the form of sketches, and it is often difficult for the layout of the pictures to jump across a large span to give a local view, although the picture as a whole appears to be lifelike. But sometimes it weakens the huge imagination of human instinct. Therefore, I have made an innovative attempt in my traditional Chinese painting works. Although most of the western buildings on Gulangyu are in the setting, I use the unique scenery of Gulangyu to recombine the picture. Through the combination, to reflect the architectural rhythm, the combination of the picture of the dense sense of rhythm. The building is arranged by the near and far layout, the single building is combined, and then a new whole is formed, in which vegetation, large and small, is interspersed, and they are all United in one picture. In addition, in this series of works, I choose different expressions to express the picture, some in the form of meticulous brushwork, some mainly in the form of freehand brushwork, some are also written. Screen to color-based, highlight Gulangyu architecture in bright red brick, gray walls, white columns and so on. Layout, pay attention to the screen arrangement, with the rhythm of the layout to compose Gulangyu movement. Technically, try various ways to make texture to enrich the picture. Through this series of pictures to interpret Gulangyu, the final realization of my "Gulangyu rhyme."
【学位授予单位】：福州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
[Abstract]:When I first saw Gulangyu, I was only seventeen years old. Now I think of that summer, but it is still fresh in my memory. My love affair with Gulangyu began at that time, extending to today and into the future. Now I have the privilege of living in this beautiful garden of the sea every day, walking here every night, snuggling with her, smelling her truest fragrance. To me, only the expression of her deep love in her own painting language will make this love more real. It must not be easy to paint a beautiful and real Gulangyu. The island has its own unique, special history and special flavor. The building she owns is in sharp contrast to Xiamen Island across the sea. History can give her so many amazing beautiful pictures. Gulangyu villas, they have their own story, so many celebrities have hung around here. Gulangyu flowers, trees, waves and beaches have also added a different life to this maritime garden, my creative material is certainly inseparable from them. The mountains and waters of Gulangyu are filled with trees and occasionally protruding stones, and the villas are high and low, which is a perfect combination of nature and humanity. However, such a combination is reasonably arranged in the picture of traditional Chinese painting works, but sometimes it is somewhat difficult to consider, not only the creative techniques of the traditional Chinese painting works themselves, but also the way in which the traditional Chinese painting works are created. We also need to consider how to integrate the European architecture and the Chinese painting expression way perfectly, and can well display the charm of Gulangyu, form their own picture. To solve such a difficult problem is not only a challenge, but also innovation. Western landscape paintings are often created in the form of sketches, and it is often difficult for the layout of the pictures to jump across a large span to give a local view, although the picture as a whole appears to be lifelike. But sometimes it weakens the huge imagination of human instinct. Therefore, I have made an innovative attempt in my traditional Chinese painting works. Although most of the western buildings on Gulangyu are in the setting, I use the unique scenery of Gulangyu to recombine the picture. Through the combination, to reflect the architectural rhythm, the combination of the picture of the dense sense of rhythm. The building is arranged by the near and far layout, the single building is combined, and then a new whole is formed, in which vegetation, large and small, is interspersed, and they are all United in one picture. In addition, in this series of works, I choose different expressions to express the picture, some in the form of meticulous brushwork, some mainly in the form of freehand brushwork, some are also written. Screen to color-based, highlight Gulangyu architecture in bright red brick, gray walls, white columns and so on. Layout, pay attention to the screen arrangement, with the rhythm of the layout to compose Gulangyu movement. Technically, try various ways to make texture to enrich the picture. Through this series of pictures to interpret Gulangyu, the final realization of my "Gulangyu rhyme."
【学位授予单位】：福州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J212
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