本文選題：當(dāng)代 + 水彩人物畫　； 參考：《廣西師范大學(xué)》2011年碩士論文

【摘要】：水彩畫自西方引入以來至八十年代之前,中國水彩人物畫經(jīng)歷了一個(gè)較為緩慢地發(fā)展歷程,究其原因,與水彩人物畫自身發(fā)展需要一段時(shí)間,材料工具的局限,國人的傳統(tǒng)觀念有關(guān)。早期雖有部分水彩畫家堅(jiān)持水彩人物畫的研究創(chuàng)作,但大多數(shù)水彩畫家們都是望而卻步,一直都不愿涉足這個(gè)領(lǐng)域,使畫作的藝術(shù)水平、藝術(shù)品質(zhì)都受到很大的影響。隨著時(shí)代的進(jìn)步,人們的思想觀念、審美意識(shí)也在隨之變化,加之水彩材料工具的不斷更新,技法不斷地豐富,伴隨著全國性、地方性水彩研究組織的成立,專業(yè)人才的培養(yǎng)模式逐步完善,畫家隊(duì)伍不斷壯大,以及創(chuàng)作、展覽、研討等活動(dòng)頻繁組織進(jìn)行,水彩人物畫正在悄悄地飛速發(fā)展著,水彩人物畫作品已經(jīng)跨越了傳統(tǒng)的單一模式,在題材、風(fēng)格、創(chuàng)作思想、表現(xiàn)手法、畫幅尺寸、材料應(yīng)用等方面都取得長足進(jìn)步。題材已經(jīng)不僅僅局限在單范圍之中,而是把對社會(huì)生活各方面深刻地關(guān)注,通過精巧的構(gòu)思體現(xiàn)在畫作之中；寫實(shí)的表現(xiàn)風(fēng)格在能滿足大眾審美意識(shí)需求下仍然受到人們的歡迎；各種新式材料、技法的融入使水彩人物畫拓展了自身語言,豐富了畫面表現(xiàn)形式；各畫種的相互滲透,吸納融合姊妹藝術(shù)表現(xiàn)手法,大大的豐富了水彩自身語言。種種的跡象表明,當(dāng)代中國水彩人物畫已經(jīng)迅速發(fā)展并以驚人的速度帶動(dòng)著中國水彩藝術(shù)逐步脫離邊緣地界。 人類社會(huì)的快速發(fā)展,文化交流日益頻繁,全世界各民族各種藝術(shù)形式在多元共存中碰撞借鑒,同時(shí)我國寬松的政治環(huán)境,政府和群眾對文化藝術(shù)的高度重視和大力支持,為中國水彩人物畫的發(fā)展提供了良好契機(jī),亦提出了挑戰(zhàn)。作為西方舶來畫種,在水彩傳入我國之后的發(fā)展歷程中,風(fēng)景畫一直居于主導(dǎo)地位,改革開放后,隨著人們對水彩人物畫的重視,其發(fā)展已經(jīng)越來越快。中國水彩人物畫在經(jīng)歷了緩慢發(fā)展后的迅速提升,因缺少相應(yīng)的積淀必然會(huì)出現(xiàn)一些不足與問題,如從事水彩人物畫創(chuàng)作的人越來越多,研究水彩技法的多,而缺少專門的水彩人物畫的理論研究支持與指導(dǎo)；新材料不斷出現(xiàn),技法不斷創(chuàng)新,又受到各種藝術(shù)思潮影響,創(chuàng)新過程中有些創(chuàng)作者忽略了保持水彩獨(dú)有的藝術(shù)特質(zhì),導(dǎo)致水彩本體語言的缺失；有些創(chuàng)作者忙于創(chuàng)作而忽視自我修養(yǎng)提升,個(gè)人藝術(shù)修養(yǎng)不夠深厚,難以形成獨(dú)特的個(gè)人風(fēng)格；一些畫家淡忘了“生活是藝術(shù)的基礎(chǔ)”,這一創(chuàng)作原則,不能真正的深入生活,缺少深刻的體驗(yàn)與感悟,創(chuàng)作時(shí)過度依賴照片。要正確面對當(dāng)代中國水彩人物畫現(xiàn)狀,有針對性地解決出現(xiàn)的問題,促使水彩人物畫獲得更大發(fā)展,應(yīng)結(jié)合中國水彩人物畫特性對癥下藥,從繪畫技法上來說要向水彩風(fēng)景畫學(xué)習(xí),把握“水”與“彩’兩要素,保持并強(qiáng)化水彩畫的本體語言；從題材來源、畫家素養(yǎng)方面來說要深入生活,感悟生活,將個(gè)人主觀情感訴諸素材形成創(chuàng)作激情,以深厚的藝術(shù)修養(yǎng)與豐富的生活體驗(yàn)提升作品的內(nèi)在魅力；從創(chuàng)作觀念上來說應(yīng)融合中國傳統(tǒng)哲學(xué)與美學(xué)觀念,創(chuàng)造性的繼承前人的成就,努力形成個(gè)人獨(dú)特藝術(shù)風(fēng)格。經(jīng)過不斷的探索,在水彩人物畫已經(jīng)取得的成基礎(chǔ)上,揚(yáng)長避短、兼收并蓄,創(chuàng)造屬于自己的特色,中國水彩人物畫的道路必將越走越見。 本文通過水彩人物畫的發(fā)展回顧,在當(dāng)代水彩人物畫發(fā)展歷程中,研究其特征表現(xiàn),并正確認(rèn)識(shí)水彩人物畫中存在的問題,找出原因并尋找發(fā)展的方向。本文分了三章,第章是對中國水彩人物畫的歷史發(fā)展回顧,第二章是對當(dāng)代中國水彩人物畫現(xiàn)狀分析,其中分了三部分,第一部分概述當(dāng)代水彩人物畫的時(shí)代背景；第二部分是闡述當(dāng)代水彩人物畫特征表現(xiàn)；第三部分是對當(dāng)代中國水彩人物畫問題分析。第三章是對當(dāng)代中國水彩人物畫創(chuàng)作的思考。
[Abstract]:Since the introduction of watercolor painting from the west to the 80s, the Chinese watercolor figure painting has experienced a relatively slow development course. The reason is a period of time, the limitation of the material tools and the traditional concept of the Chinese people. Most Watercolor Painters are prohibitive and have been reluctant to get involved in this field. The artistic and artistic quality of the paintings have been greatly influenced. With the progress of the times, people's ideas and aesthetic consciousness are also changing, as well as the continuous renewal of watercolor material tools, the continuous enrichment of techniques, and the national nature. The establishment of the research organization of square watercolor, the training mode of professional talents is gradually perfected, the painters continue to grow, and the creation, exhibition, discussion and other activities are frequently organized. The watercolor figure painting is developing quietly. The watercolor figure painting works have crossed the traditional single mode, in the subject, style, creative thought and expression technique. It has made great progress in the dimensions of painting, material application and so on. The subject matter is not only confined in a single range, but is deeply concerned about all aspects of social life, and is embodied in the painting through exquisite conception; the realistic style of expression is still welcomed by the people under the demand of public aesthetic awareness; The integration of materials and techniques makes watercolor figure painting expand its own language, enrich the form of the picture, infiltrate each other, absorb and fuse the artistic expression of sister, and greatly enrich the language of the watercolor. All kinds of signs indicate that the contemporary Chinese watercolor figure painting has developed rapidly and led the Chinese water at an astonishing speed. Color art is gradually out of the border.
With the rapid development of human society and more frequent cultural exchanges, various kinds of art forms in the world have been used for reference in multiple coexistence. At the same time, the loose political environment in China, the government and the masses attach great importance to the culture and art, and provide a good opportunity for the development of Chinese watercolor figure painting as well as a challenge. In the course of the development of watercolor after the introduction of watercolor to China, landscape painting has always been in the leading position. After the reform and opening up, with the attention of people to the watercolor figure painting, its development has become more and more rapid. The problem, such as the more and more people engaged in watercolor figure painting, the study of watercolor techniques, and the lack of special watercolor figure painting theory research support and guidance; new materials continue to appear, technology innovation, and the influence of various art trends, some creators in the process of innovation neglect the unique artistic characteristics of watercolor, guide the unique characteristics of the watercolor, guide The lack of the language of the watercolor; some of the creators are busy with the creation and neglect the self cultivation and promotion, the personal artistic accomplishment is not deep enough to form a unique personal style; some painters have forgotten that "life is the basis of art", this creative principle can not really go deep into life, lack profound experience and feeling, and create time. In order to correctly face the current situation of Chinese watercolor figure painting, to solve the current problems of Chinese watercolor figure painting, and to promote the development of watercolor figure painting, we should combine the characteristics of Chinese watercolor figure painting, learn from the painting techniques, grasp the two elements of "water" and "color", and keep and strengthen the water. The noumenon language of the color painting; from the source of the subject and the accomplishment of the painter, it is necessary to go deep into life, to feel the life, to appeal to the personal emotion to form the passion of creation, to enhance the inner charm of the works with profound artistic accomplishment and rich life experience, and to integrate the traditional Chinese philosophy and aesthetic ideas from the creative ideas and the creativity. To inherit the achievements of the predecessors, and strive to form a unique style of personal art. After continuous exploration, on the basis of the already obtained watercolor figure painting, the road of Chinese watercolor figure painting will be more and more visible.
This paper, through the review of the development of watercolor figure painting, studies its characteristics in the development of contemporary watercolor figure painting, and correctly understands the problems in the watercolor figure painting, finds out the reasons and seeks the direction of development. This article is divided into three chapters, the chapter is the historical development of Chinese watercolor figure painting, and the second chapter is the contemporary Chinese watercolor The analysis of the present situation of the figure painting is divided into three parts. The first part outlines the background of the contemporary watercolor figure painting; the second part is the description of the characteristics of the contemporary watercolor figure painting; the third part is the analysis of the contemporary Chinese watercolor figure painting. The third chapter is the thinking of the contemporary Chinese watercolor figure painting.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J215

【參考文獻(xiàn)】

相關(guān)期刊論文 前3條

1 張瞳;展時(shí)代風(fēng)采 推精品力作——第十屆全國美展水彩、粉畫展在汕頭隆重開幕[J];美術(shù);2004年10期

2 黃鐵山;;關(guān)于中國水彩畫的思考雜記[J];美術(shù);2006年02期

3 徐巍;;視覺文化與當(dāng)代讀者審美趣味的轉(zhuǎn)向[J];西北大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2006年03期

，

本文編號(hào)：2014709