【摘要】：全國美展是當(dāng)代中國影響最廣、規(guī)模最大、最具權(quán)威的綜合性美術(shù)展覽,它對(duì)中國美術(shù)的發(fā)展,推出優(yōu)秀的人才有著重大意義,所以有必要對(duì)其總結(jié)、分析和研究。 2009年,全國第十一屆全國美術(shù)作品——水彩、粉畫展覽取得了不俗的成績,業(yè)內(nèi)人士普遍認(rèn)為是歷屆最好的一次,比較真實(shí)的反映了近五年來水彩、粉畫藝術(shù)創(chuàng)作的現(xiàn)實(shí),出現(xiàn)了大量的優(yōu)秀作品,如獲獎(jiǎng)作品陸慶龍(江蘇)的《兄弟》、陳勇勁(湖北)的《巡航》、陳朝生(廣東)的《出游》等,和一批優(yōu)秀的青年畫家。同時(shí)也反映了當(dāng)下中國水彩、粉畫發(fā)展中的一些弊端,如一些畫家為了獲獎(jiǎng)而模仿歷屆美展獲獎(jiǎng)作品而導(dǎo)致的題材重復(fù)的作品,依賴照片而死扣硬磨的作品,脫離水彩獨(dú)特的藝術(shù)語言去模仿油畫、版畫、國畫等其他畫種與其他畫種拉不開距離的作品、畫面缺乏精神內(nèi)涵的作品等。 筆者通過對(duì)這些作品進(jìn)行研究和分析,第一方面：提出了水彩藝術(shù)的審美價(jià)值和獨(dú)特的個(gè)性繪畫語言不僅來自水彩畫的材料工具、表現(xiàn)技法和作畫媒介,還在于畫家對(duì)水彩藝術(shù)本質(zhì)內(nèi)涵的準(zhǔn)確認(rèn)識(shí)和個(gè)性語言特色的理解和把握；第二方面：提出了畫家對(duì)待照片技術(shù)的正確認(rèn)識(shí),認(rèn)識(shí)照片技術(shù)搜集素材的便捷,在運(yùn)用相機(jī)搜集素材時(shí)應(yīng)有的創(chuàng)作心態(tài),如何搜集素材,和照片素材在創(chuàng)作中簡(jiǎn)單的加減法運(yùn)用等；第三方面：提出了當(dāng)下水彩藝術(shù)表現(xiàn)形式方面對(duì)于一個(gè)畫種來說不夠全面,在抽象、變形、意向和象征性表現(xiàn)形式的作品不多,并提出抽象、變形、意向和象征性表現(xiàn)手法更加容易體現(xiàn)作者的情緒,和氣氛的營造等。最后筆者從中國水彩畫多元化發(fā)展,當(dāng)代性發(fā)展進(jìn)行了展望。
[Abstract]:The National Art Exhibition is the most influential, the largest and the most authoritative comprehensive art exhibition in contemporary China. It is of great significance to the development of Chinese art and the introduction of outstanding people, so it is necessary to summarize, analyze and study it. In 2009, the 11th national art works-watercolor, pink painting exhibition-made remarkable achievements. The industry generally considered the exhibition to be the best ever, and more truly reflected the reality of watercolor and pink painting art creation in the past five years. A large number of excellent works, such as Lu Qinglong (Jiangsu), Chen Yongjin (Hubei) cruising, Chen Chaosheng (Guangdong), and a number of outstanding young painters. At the same time, it also reflects some drawbacks in the development of contemporary Chinese watercolor and pink painting. For example, some painters imitate the works of repeated themes caused by the winning works of previous art exhibitions in order to win prizes, and they rely on photographs to buckle the hard ground works. Break away from the unique artistic language of watercolor to imitate oil paintings, prints, traditional Chinese paintings and other painting can not be separated from other works, the picture lacks the spiritual connotation of the works and so on. The author through the research and analysis of these works, the first: proposed the aesthetic value of watercolor art and unique personality painting language not only from the material tools of watercolor painting, performance techniques and painting medium, It also lies in the painters' understanding of the essence of watercolor art and the understanding and grasp of the characteristics of individual language. The second aspect: put forward the correct understanding that the painter treats the photo technology, know the convenience of collecting the material of the photo technology, the creative mentality that should be in use of the camera to collect the material, how to collect the material, And photo material in the creation of simple addition and subtraction, and so on; The third aspect: put forward that the present watercolor art expression form is not comprehensive enough for a kind of painting, in abstract, deformation, intention and symbolic form of the work is not many, and put forward abstract, deformation, Intention and symbolic expression more easily reflect the author's mood, and the creation of atmosphere and so on. Finally, the author looks forward to the diversified development and contemporary development of Chinese watercolor painting.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J215

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