水粉画新考证与再认识
发布时间：2018-10-15 19:01
【摘要】：作为一种绘画，水粉画法的历史是悠久的，但是作为一个画种，水粉画则是近代艺术的产物。在西方早期绘画史中，采用粉质颜料进行绘画仅仅作为水彩画的一种技法依附于水彩画中，那时粉质颜料的应用价值远远超过其绘画价值。 为了了解水粉画在中西方发展的轨迹、状况和东西方差异，笔者查阅了法国卢浮宫博物馆、英国泰特美术馆、英国国家画廊、美国大都会艺术博物馆等境外美术馆馆藏资料以及当代西方水粉、彩画家的网站，对国内已有的文献资料进行补充，对西方水粉画发展历史及现状进行总结，根据查阅的历史资料，梳理了水粉画的发展脉络。对于水粉画体系而言，由于外国多数国家“水粉”仅属于“水彩”的表现和综合手段之一，没有形成独立的画种，因此对比在国外的受重视程度和发展环境，可以看出水粉画在中国得到的蓬勃发展，有客观唯物的历史原因。那就是水粉画符合了中国大众传统美学观和审美需求中经世致用的“实用主义”，而在近代中国广泛传播具备了优势条件，之后在不同时期对人民群众文化生活都产生过重要的影响，例如水粉画作为政治宣传工具的时期，遇曲折坎坷韧力不减，终焕发出了内部艺术本体的觉醒；在现代开放潮流中，盛而不衰、继续发展壮大，，历久弥新、不拘一格，以更多样的艺术形式活跃于中国大地。它承载中国近代文化的发展史，用各种易于大众接纳的形式记录着时代的变迁。梳理水粉画的发展脉络，明确了水粉画在我国美术发展史上的重要意义，这对水粉画体系的进一步完善具有现实意义。 中西方水粉画佳作迭连，翻开有关西方水粉画（body-color）的文献资料，西方美术界对于水粉的艺术性和特有味道也有着深刻的见解和进步、详实的探讨，曾有西方艺术评论家对水粉与水彩在技法和表现性上的区别做了六点总结归纳，与我国美术教育家、水粉画大师袁运甫先生所作的总结相似。认识与观念的趋同，更加体现着中西方文化的交汇。西方绘画的精髓在于重视差异的客观性，绘画工具材料上表现的区别，表达不同的艺术效果，此基础上的自由创作，给观者带来水粉独立的艺术本位的美感和精神享受，本文将在有关章节介绍现在西方各国活跃的艺术家及其代表作品。 上述提及的部分文章内容是笔者经查阅了大量有关的外文资料，首次在国内介绍，例如画家莫里斯·格拉夫，对于国内是陌生的，但他在水粉画领域的探索是不可忽视的。
[Abstract]:As a kind of painting, the history of water painting is long, but as a kind of painting, water painting is the product of modern art. In the history of early Western painting, the use of pink paint painting is only as a technique of watercolor painting attached to the watercolor painting, at that time, the application value of pink pigment far exceeded its painting value. In order to understand the development of water painting in China and the West, the author consulted the Louvre Museum in France, the Tate Gallery, and the National Gallery of England. The materials collected by overseas art museums such as the Metropolitan Museum of Art in the United States and the websites of contemporary western water powder and color painters supplement the literature already available in China, and summarize the history and current situation of the development of western water painting. According to the historical data, combing the development of water painting. As for the water painting system, because the "water powder" in most foreign countries is only one of the performance and comprehensive means of "water color" and does not form an independent painting species, it is compared with the degree of attention and the development environment in foreign countries. It can be seen that the flourishing development of water painting in China has the historical reason of objective materialism. That is, the water painting conforms to the "pragmatism" of the traditional aesthetic view and aesthetic needs of the Chinese masses, and its widespread dissemination in modern China has its own advantages. After that, it had an important impact on the people's cultural life in different periods. For example, during the period when water paint was used as a political propaganda tool, the twists and turns and bumpy toughness did not diminish, and eventually the awakening of the internal art ontology emerged; in the trend of modern opening to the outside world, Prosperous and unfailing, continue to grow, old and new, unconventional, more diverse forms of art active in the land of China. It bears the history of modern Chinese culture and records the changes of the times in various forms that are easily accepted by the public. Combing the development context of water painting, it clarifies the important significance of water powder painting in the history of the development of Chinese fine arts, which has practical significance for the further improvement of the painting system. The Chinese and Western waterpowder paintings have been written over and over again, opening up the literature on western water powder painting (body-color). The western art circles also have profound views and progress on the artistry and special taste of water powder, and have a thorough and detailed discussion. Some western art critics have summarized the differences between water powder and watercolor in technique and expressiveness, which are similar to those made by Chinese art educator and master of water painting, Mr. Yuan Yunfu. The convergence of cognition and concept reflects the intersection of Chinese and western cultures. The essence of Western painting lies in attaching importance to the objectivity of difference, the difference in the performance of painting tools and materials, and the expression of different artistic effects. On this basis, the free creation on the basis of which brings to the viewer the aesthetic feeling and spiritual enjoyment of the independent artistic standard of water powder. This article will introduce the active artists and their representative works in the western countries. Some of the articles mentioned above are introduced in China for the first time after the author has consulted a large number of relevant foreign language materials, such as the painter Maurice Graff, who is unfamiliar to the country, but his exploration in the field of water painting cannot be ignored.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J215
本文编号：2273522
[Abstract]:As a kind of painting, the history of water painting is long, but as a kind of painting, water painting is the product of modern art. In the history of early Western painting, the use of pink paint painting is only as a technique of watercolor painting attached to the watercolor painting, at that time, the application value of pink pigment far exceeded its painting value. In order to understand the development of water painting in China and the West, the author consulted the Louvre Museum in France, the Tate Gallery, and the National Gallery of England. The materials collected by overseas art museums such as the Metropolitan Museum of Art in the United States and the websites of contemporary western water powder and color painters supplement the literature already available in China, and summarize the history and current situation of the development of western water painting. According to the historical data, combing the development of water painting. As for the water painting system, because the "water powder" in most foreign countries is only one of the performance and comprehensive means of "water color" and does not form an independent painting species, it is compared with the degree of attention and the development environment in foreign countries. It can be seen that the flourishing development of water painting in China has the historical reason of objective materialism. That is, the water painting conforms to the "pragmatism" of the traditional aesthetic view and aesthetic needs of the Chinese masses, and its widespread dissemination in modern China has its own advantages. After that, it had an important impact on the people's cultural life in different periods. For example, during the period when water paint was used as a political propaganda tool, the twists and turns and bumpy toughness did not diminish, and eventually the awakening of the internal art ontology emerged; in the trend of modern opening to the outside world, Prosperous and unfailing, continue to grow, old and new, unconventional, more diverse forms of art active in the land of China. It bears the history of modern Chinese culture and records the changes of the times in various forms that are easily accepted by the public. Combing the development context of water painting, it clarifies the important significance of water powder painting in the history of the development of Chinese fine arts, which has practical significance for the further improvement of the painting system. The Chinese and Western waterpowder paintings have been written over and over again, opening up the literature on western water powder painting (body-color). The western art circles also have profound views and progress on the artistry and special taste of water powder, and have a thorough and detailed discussion. Some western art critics have summarized the differences between water powder and watercolor in technique and expressiveness, which are similar to those made by Chinese art educator and master of water painting, Mr. Yuan Yunfu. The convergence of cognition and concept reflects the intersection of Chinese and western cultures. The essence of Western painting lies in attaching importance to the objectivity of difference, the difference in the performance of painting tools and materials, and the expression of different artistic effects. On this basis, the free creation on the basis of which brings to the viewer the aesthetic feeling and spiritual enjoyment of the independent artistic standard of water powder. This article will introduce the active artists and their representative works in the western countries. Some of the articles mentioned above are introduced in China for the first time after the author has consulted a large number of relevant foreign language materials, such as the painter Maurice Graff, who is unfamiliar to the country, but his exploration in the field of water painting cannot be ignored.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J215
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