本文選題：當(dāng)代 + 水彩現(xiàn)狀�。� 參考：《東北師范大學(xué)》2010年碩士論文

【摘要】： 在當(dāng)今的多元時代下,中國水彩畫的發(fā)展日新月異,在突破與創(chuàng)新的歷史印記中書寫篇章,在作品的高度和內(nèi)涵上不斷地更新與提升,那么每一個水彩人都應(yīng)該認(rèn)清楚這個“新時代”、“大背景”的真實(shí)面孔,既然現(xiàn)狀如此,那么我們就應(yīng)該從思想上武裝自己,深刻的認(rèn)識到大勢所需,增強(qiáng)水彩作品的藝術(shù)內(nèi)涵,創(chuàng)作更美的佳作,把藝術(shù)的審美提升到一定的高度,為推動水彩事業(yè)的發(fā)展做些事情。我們深知,中國水彩藝術(shù)已經(jīng)走過了一個世紀(jì),卻還要比西方晚上幾個世紀(jì),伴隨著“百年中國水彩畫展”的落幕,中國水彩藝術(shù)翻過了借鑒、消化和融合的建基性的一頁,迎來了后百年革新發(fā)展的新一頁。從大型水彩展覽的頻頻舉辦可以得示,中國水彩藝術(shù)整體地進(jìn)入當(dāng)代性轉(zhuǎn)型的時代已經(jīng)開始了,一方面從水彩歷史中總結(jié)歸納和借鑒,另一方面求新求變,這儼然已經(jīng)成為我們的責(zé)任。我覺得要立足當(dāng)代來分析現(xiàn)狀,至少要包括質(zhì)疑與批判,研究水彩畫體系的結(jié)構(gòu)與建構(gòu),去偽存真,汲取精華。本文立足當(dāng)代,談當(dāng)代語境下的水彩畫發(fā)展的現(xiàn)狀,對現(xiàn)狀加以細(xì)致的剖析闡述,揭示現(xiàn)狀的成因及利弊要素,引出一條合理的水彩發(fā)展觀,讓每個水彩愛好者從中受益。我們所希望看到的中國水彩藝術(shù)的當(dāng)代性是從中國文化的根性上發(fā)展出來的,是傳統(tǒng),繼承與創(chuàng)新的結(jié)合體,而不是橋頭蘆葦,山間竹筍的反襯體。我們希望從文化的根底處研究中國水彩的當(dāng)代性問題。概括起來一句話———時代人該做時代事。
[Abstract]:In today's multi-dimensional era, the development of Chinese watercolor painting is changing with each passing day. It writes a chapter in the historical imprint of breakthrough and innovation, and constantly updates and promotes the height and connotation of the works. Well, every watercolor person should clearly recognize the true face of this "new era" and "big background". Since the present situation is like this, then we should arm ourselves ideologically and profoundly realize the needs of the general situation. To strengthen the artistic connotation of watercolor works, to create more beautiful works, to raise the aesthetic of art to a certain height, and to do something to promote the development of watercolor cause. We know very well that Chinese watercolor art has gone through a century, but it is even more than a few centuries in the evening of the West. With the closing curtain of the "Centennial China Watercolor painting Exhibition," the art of Chinese watercolor has turned over a fundamental page of reference, digestion, and integration. Ushered in a new page of innovation and development after a hundred years. From the frequent holding of large-scale watercolor exhibitions, it can be seen that the Chinese watercolor art has entered the era of contemporary transformation as a whole. On the one hand, it summarizes and draws lessons from the watercolor history, on the other hand, it seeks for new and new changes. This has become our responsibility. I think to analyze the current situation based on the contemporary, at least including questioning and criticism, the study of the structure and construction of watercolor painting system, to remove the true, extract the essence. Based on the contemporary situation, this paper discusses the current situation of the development of watercolor painting in the contemporary context, analyzes and expounds the present situation, reveals the causes of the present situation and its advantages and disadvantages, and leads to a reasonable watercolor development concept, which will benefit every watercolor lover. The contemporary nature of Chinese watercolor art that we want to see is developed from the root of Chinese culture. It is a combination of tradition, inheritance and innovation, not the contrast of Qiaotou Reed and bamboo shoots in the mountains. We hope to study the contemporary nature of Chinese watercolor from the root of culture. In a word, people of the times should do the things of the times.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J215

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