论素描创作中艺术语言的应用研究

发布时间：2018-09-17 13:53

【摘要】：19世纪以来,各种美术思潮流派的风起云涌导致美术创作越来越偏离于文艺复兴以来古典学院画派“客观、冷静”的写实理念。而画家也越来越热衷于依靠自己的主观世界、主观精神意志、观念来干预、改造客观事物,使得绘画作品日益演变成为了表现画家自身世界观、价值观和审美观的外在“图示”。在这种形势下,向来作为“绘画基本功”、“绘画草图”的素描创作就成为各种美术思潮流派的前卫艺术家们探索绘画作为主观精神世界“图示”之表现方法的切入点和突破方向,导致了大量现代素描作品的涌现。而科技的快速发展又为现代美术提供了各种新型媒材,促使探求如何将绘画演变为主观精神世界“图示”之表现方法的前卫艺术家们主动地将这些媒材运用于现代素描,发展出了基础性的现代素描“艺术语言”。在这一动向的启发下,视野开阔的前卫画家们也纷纷开始将传统素描之外其它领域(包括艺术领域和非艺术领域)的一切技法和成品元素又都可能被借用来作为现代素描的“艺术语言”,以期更为高效地创作契合自身个性化精神世界观念的“图示”性素描作品。在这两种新锐“艺术语言”汇流于现代素描当中之后,素描的“艺术语言”便得到了空前的丰富和发展。有鉴于此,来源于媒材的或者来源于其它领域的素描“艺术语言”不仅对传统素描语言构成了巨大的挑战和冲击,而且提示我们将各种新型素描“艺术语言”与传统“艺术语言”进行对接与融合的必要性和迫切性。正是在这种背景下,笔者选择了“论素描创作中艺术语言的应用研究”为课题来深入探索现代素描中“艺术语言”的应用情况及其指导思维。本课题的研究分为五个部分展开,第一部分为引言,将要介绍国内外素描艺术及素描教学发展历程;第二部分为概念界定,不仅将解析“艺术语言”的概念,而且还将阐述传统素描“艺术语言”和现代素描“艺术语言”的类型与特征;第三部分,则援引具体案例,来深入分析现代素描“艺术语言”的构成及其在素描创作中的运用方式;第四部分以第三部分的论证为基础,尝试探究传统与现代素描“艺术语言”及艺术思维对接、融合的内在规律;第五部分为结论,对全文进行概括总结,揭示文章的核心观点。
[Abstract]:Since the 19th century, the upsurge of various art schools of thought has led to the deviation of art creation from the realistic idea of "objectivity and coolness" of the classical school of painting since the Renaissance. And the painter is more and more keen to rely on his subjective world, subjective spirit will, ideas to intervene, transform the objective things, so that the painting has increasingly evolved into the performance of the painter's own world view. The external "diagram" of values and aesthetics. Under such circumstances, it has always been regarded as a "basic skill in painting". The sketch creation of "sketches" has become the breakthrough point and breakthrough direction for the avant-garde artists of various artistic schools of thought to explore the representation method of painting as a subjective spiritual world, which leads to the emergence of a large number of modern sketch works. The rapid development of science and technology has provided a variety of new media for modern art, prompting the avant-garde artists who have explored how to turn painting into a representation of the subjective spiritual world to apply these materials to modern sketches on their own initiative. A basic modern sketch, artistic language, has been developed. Inspired by this trend, Avant-garde painters with broad horizons have also begun to use all the techniques and finished elements in areas other than traditional sketching, including art and non-art, as the "artistic language" of modern sketches. In order to create more efficient "graphic" sketch works that fit in with their own concept of the spiritual world. After these two new "artistic languages" converged in modern sketch, the "artistic language" of sketch got unprecedented enrichment and development. In view of this, "artistic language", which comes from media or from other fields, not only poses a great challenge and impact to the traditional sketch language, It also suggests that it is necessary and urgent for us to connect various new sketches "artistic language" with traditional "artistic language". It is under this background that the author chooses "on the Application of artistic language in Sketch creation" as the subject to explore the application of "artistic language" in modern sketch and its guiding thinking. The research of this subject is divided into five parts, the first part is the introduction, which will introduce the development of sketch art and sketch teaching at home and abroad, the second part is the definition of concept, not only will analyze the concept of "artistic language", Furthermore, the types and characteristics of the traditional sketch "artistic language" and the modern sketch "artistic language" will be elaborated. In the third part, specific cases will be cited. The fourth part is based on the argumentation of the third part, trying to explore the connection between traditional and modern sketch "artistic language" and artistic thinking. The fifth part is the conclusion, summarizes the full text, reveals the core point of view.
【学位授予单位】：广西艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J214

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