本文選題：水墨 + 水墨都市繪畫��； 參考：《重慶大學(xué)》2010年碩士論文

【摘要】：水墨都市繪畫是對(duì)中國(guó)傳統(tǒng)山水畫的繼承和創(chuàng)新,是當(dāng)代都市人文環(huán)境發(fā)展的精神產(chǎn)物,水墨都市繪畫的發(fā)展具有必然性,因此,對(duì)水墨都市繪畫在當(dāng)代的創(chuàng)新與實(shí)踐進(jìn)行研究分析,對(duì)中國(guó)畫的發(fā)展具有非常重要的意義。 本文在水墨都市繪畫進(jìn)行實(shí)踐與研究分析的基礎(chǔ)上,把水墨都市繪畫的定義為以水墨繪畫形式來表達(dá)都市中的自然景觀和人與都市相互關(guān)系的新山水畫。詳細(xì)闡述了水墨都市繪畫的表現(xiàn)形式、表達(dá)內(nèi)容和特征,以及與西方城市風(fēng)景畫的聯(lián)系與區(qū)別,并結(jié)合國(guó)內(nèi)重要美術(shù)展覽作品進(jìn)行水墨都市繪畫的實(shí)例分析。 在水墨都市繪畫理論研究的基礎(chǔ)上,本文結(jié)合筆者近幾年的水墨都市繪畫作品,在內(nèi)容上,對(duì)水墨都市繪畫中所包含的物象如建筑、道路、燈飾、廣告設(shè)施、交通工具、環(huán)境綠化、以及圍繞都市環(huán)境的自然景象(雨霧、風(fēng)云、陽(yáng)光)等的具體形態(tài)進(jìn)行了研究,還對(duì)水墨都市繪畫在裝飾語(yǔ)言、符號(hào)語(yǔ)言和構(gòu)圖法則方面的創(chuàng)新與實(shí)踐進(jìn)行了一定程度的分析;在表現(xiàn)形式上,對(duì)水墨都市繪畫在筆法和墨法、色彩關(guān)系、材料運(yùn)用、當(dāng)代設(shè)計(jì)、工藝技法的綜合應(yīng)用五個(gè)方面的創(chuàng)新與實(shí)踐進(jìn)行了分析。筆者在水墨都市繪畫的創(chuàng)新與實(shí)踐進(jìn)一步證實(shí)了當(dāng)代水墨都市繪畫不僅要繼承中國(guó)傳統(tǒng)山水畫的精神內(nèi)涵,還要有效地借用其他繪畫學(xué)科的新思維、新技法以及新材料等作為新內(nèi)容和新形式的支撐。雖然當(dāng)代水墨都市繪畫正逐漸走向成熟,但在表達(dá)內(nèi)容和表現(xiàn)形式上都還有很大的發(fā)展空間,還有待我們?cè)谔剿髋c創(chuàng)新的道路上努力再努力。
[Abstract]:The ink city painting is the inheritance and innovation of Chinese traditional landscape painting. It is the spiritual product of the development of contemporary urban humanistic environment. The development of the ink city painting is inevitable. Therefore, it is very important for the development of Chinese painting to study and analyze the contemporary innovation and practice of ink and wash City painting.
On the basis of the practice and analysis of the painting of water and ink city, this paper defines the city painting as a new landscape painting in the form of water and ink painting to express the natural landscape in the city and the relationship between people and the city. This paper expounds the expression forms, contents and features of the urban painting of water and ink, as well as the landscape painting with the western cities. The article analyzes the connection and difference between ink painting and urban painting.
On the basis of the study of the theory of ink and ink urban painting, this paper combines the author's painting works of ink and ink in recent years, and on the content, the concrete form of the paintings of the city, such as architecture, road, lighting, advertising facilities, transportation, environment greening, and the natural scene around the urban environment (rain, fog, sunshine), etc. The research is carried out, and the innovation and practice of the ink city painting in decorative language, symbolic language and composition rule are analyzed to a certain extent. In the form of expression, five aspects of the innovation and practice of the ink and ink city painting in the pen and ink method, the color relation, the material use, the contemporary design and the comprehensive application of the technical technique are carried out. The innovation and practice of the ink city painting further confirms that the contemporary ink city painting not only inherits the spiritual connotation of Chinese traditional landscape painting, but also effectively borrows the new thinking of other painting disciplines, new techniques and new materials as the support of new content and new form. Gradually mature, but there is still much room for development in terms of content and form of expression. We still have to work hard on the road of exploration and innovation.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J205

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本文編號(hào)：2055139