当代漆画的发展及其艺术性研究
发布时间：2018-11-23 07:13
【摘要】：二十世纪我国逐渐形成了一个新的绘画种类——漆画,它以其艺术性和工艺性的共存引起人们的争议。因此漆画在发展过程中遇到了其他画种未曾有过的艰难。本文以漆画的古老性与年轻性做为切入点,分析了漆画的工艺性和艺术性,从广义和狭义两个角度论证了漆画与漆艺的概念及其之间的关系,并在论证过程中,叙述现代漆画的背景知识,为其艺术性和发展过程中所遇到的问题做了铺垫。文章将以漆画在各个时期的特点为线索,叙述了漆画在国内的起源、历史及发展;以各个时期漆画的代表人物和重要事件为节点,描述了从秦汉至魏晋的漆绘样式和隋唐之后的漆绘装饰工艺,以及近现代漆画逐渐得到社会重视的艰辛历程,由此论证不同时期的漆画家们结合中国的美学思想和社会形态为“漆画”这一画种的独立和发展做出了不可磨灭的贡献。而漆画作为一门独立的艺术种类,具有其他艺术种类所不具有的独特优势,本文将从地域上将现代漆画分为南北两个大的派别,再将南北两派细化出各个地区的漆画派别;采用了举例法,以各位名家的作品为样证,对比南北两派漆画的发展背景、过程及现状,考证了不同地区的人文风情及思想形态对不同派别产生的影响以及造就出的不同派别之间的异同,同时从漆画的特性和作品的意境表达这两个方面探究漆画的艺术性,进而总结出漆画这一画种的独特性。最后在分析前文的基础上得出结论:当代漆画在发展过程中所要面对的各方面问题以及应对措施。从画种本身的艺术性、市场对漆画的影响及创作群体本身的质素问题等方面,详细地分析了当代漆画发展所遇到的种种阻碍,创作者们在创作过程中过于追求工艺技巧的表现,在创作选材上缺乏创新性,实践缺乏理论的指导,作品粗制滥造,创作者本身缺乏坚定信念,缺乏专业知识和艺术修养,创作群体的人数偏少等等。此文无论从横向还是纵向来论述,都旨在揭示漆画发展的内在规律,为其日后的完善提出切实可行的解决方案,以供世人参考。
[Abstract]:In the 20th century, a new kind of painting was gradually formed in China-lacquer painting, which caused controversy because of its coexistence of artistry and craftsmanship. Therefore, lacquer painting in the development process encountered other painting has not had difficulties. This paper analyzes the craftsmanship and artistry of lacquer painting in terms of its antiquity and youth, and demonstrates the concept and the relationship between lacquer painting and lacquer art from two broad and narrow perspectives, and in the process of argumentation, This paper describes the background knowledge of modern lacquer painting and lays the groundwork for its artistry and the problems encountered in its development. The article will take the characteristic of lacquer painting in each period as the clue, narrate the origin, history and development of lacquer painting in China; Taking the representative figures and important events of lacquer painting in each period as the node, this paper describes the lacquer painting styles from Qin and Han dynasties to Wei and Jin dynasties, and the painting decoration technology after Sui and Tang dynasties, as well as the painstaking process in which modern and modern lacquer paintings have gradually gained social attention. It is demonstrated that painters in different periods have made indelible contributions to the independence and development of "lacquer painting" in combination with Chinese aesthetic thought and social formation. As an independent kind of art, lacquer painting has unique advantages that other kinds of art do not have. This paper will divide modern lacquer painting into two major schools of north and south from the region, and then refine the two schools of lacquer painting out of the schools of lacquer painting in various regions. Taking the works of famous artists as examples, the paper compares the development background, process and current situation of the two schools of lacquer painting in the north and the south. This paper examines the influence of the humanistic customs and ideological forms of different regions on different schools and the similarities and differences between different schools, and probes into the artistry of lacquer painting from two aspects: the characteristics of lacquer painting and the artistic conception of the works. Then sum up the uniqueness of lacquer painting. Finally, on the basis of the above analysis, the author draws a conclusion that contemporary lacquer painting faces various problems and countermeasures in the course of its development. From the aspects of the artistic nature of the painting itself, the influence of the market on the lacquer painting and the quality problems of the creative group itself, this paper analyzes in detail the various obstacles encountered in the development of contemporary lacquer painting, and the creators pursue the expression of the craft technique too much in the process of creation. There is a lack of innovation in the selection of creative materials, lack of theoretical guidance in practice, rough production of works, lack of firm belief on the part of creators themselves, lack of professional knowledge and artistic accomplishment, small number of creative groups, and so on. This paper discusses both horizontally and vertically to reveal the inherent law of the development of lacquer painting and to put forward practical solutions for its future perfection for the reference of the world.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213.9
本文编号：2350733
[Abstract]:In the 20th century, a new kind of painting was gradually formed in China-lacquer painting, which caused controversy because of its coexistence of artistry and craftsmanship. Therefore, lacquer painting in the development process encountered other painting has not had difficulties. This paper analyzes the craftsmanship and artistry of lacquer painting in terms of its antiquity and youth, and demonstrates the concept and the relationship between lacquer painting and lacquer art from two broad and narrow perspectives, and in the process of argumentation, This paper describes the background knowledge of modern lacquer painting and lays the groundwork for its artistry and the problems encountered in its development. The article will take the characteristic of lacquer painting in each period as the clue, narrate the origin, history and development of lacquer painting in China; Taking the representative figures and important events of lacquer painting in each period as the node, this paper describes the lacquer painting styles from Qin and Han dynasties to Wei and Jin dynasties, and the painting decoration technology after Sui and Tang dynasties, as well as the painstaking process in which modern and modern lacquer paintings have gradually gained social attention. It is demonstrated that painters in different periods have made indelible contributions to the independence and development of "lacquer painting" in combination with Chinese aesthetic thought and social formation. As an independent kind of art, lacquer painting has unique advantages that other kinds of art do not have. This paper will divide modern lacquer painting into two major schools of north and south from the region, and then refine the two schools of lacquer painting out of the schools of lacquer painting in various regions. Taking the works of famous artists as examples, the paper compares the development background, process and current situation of the two schools of lacquer painting in the north and the south. This paper examines the influence of the humanistic customs and ideological forms of different regions on different schools and the similarities and differences between different schools, and probes into the artistry of lacquer painting from two aspects: the characteristics of lacquer painting and the artistic conception of the works. Then sum up the uniqueness of lacquer painting. Finally, on the basis of the above analysis, the author draws a conclusion that contemporary lacquer painting faces various problems and countermeasures in the course of its development. From the aspects of the artistic nature of the painting itself, the influence of the market on the lacquer painting and the quality problems of the creative group itself, this paper analyzes in detail the various obstacles encountered in the development of contemporary lacquer painting, and the creators pursue the expression of the craft technique too much in the process of creation. There is a lack of innovation in the selection of creative materials, lack of theoretical guidance in practice, rough production of works, lack of firm belief on the part of creators themselves, lack of professional knowledge and artistic accomplishment, small number of creative groups, and so on. This paper discusses both horizontally and vertically to reveal the inherent law of the development of lacquer painting and to put forward practical solutions for its future perfection for the reference of the world.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213.9
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