本文選題：中國當(dāng)代 + 水性材料繪畫　； 參考：《東北師范大學(xué)》2017年博士論文

【摘要】：20世紀(jì)中國美術(shù)發(fā)展史,是對民族優(yōu)秀傳統(tǒng)文化的批判與繼承的歷史,亦是對西方藝術(shù)思潮的借鑒與吸納的歷史。中國水性材料繪畫語言的發(fā)展,可以說是在民族優(yōu)秀傳統(tǒng)的繼承發(fā)展與西方藝術(shù)精華的借鑒與吸收中前行的。因此,中國水性繪畫材料繪畫語言由傳統(tǒng)形態(tài)逐步轉(zhuǎn)變?yōu)楝F(xiàn)代形態(tài)是一個漸進的過程。在此過程中,融合了藝術(shù)家們對民族文化精華的堅守,同時也飽含了對西方水性材料繪畫的借鑒與吸收。本論文對中國當(dāng)代水性材料繪畫語言的衍變與特征進行了系統(tǒng)梳理,同時結(jié)合作者本人在水性材料繪畫語言上的多年探索與實踐,力圖為當(dāng)代中國水性材料繪畫語言的發(fā)展貢獻綿薄之力。論文共分為如下七個部分:第一部分是引論,主要介紹中國當(dāng)代水性材料繪畫語言面臨的問題與挑戰(zhàn)、本論文研究的意義與價值以及相關(guān)文獻的梳理與論文的創(chuàng)新點。中國水性材料繪畫語言在自身的發(fā)展中存在著一定的局限性,比如顏料運用的單一性、基地選用的束縛性、表現(xiàn)技法的程式化等等。這種局限性迫切需要中國水性材料繪畫語言的創(chuàng)新,因為藝術(shù)的發(fā)展規(guī)律具有多種文化相互融合、創(chuàng)新發(fā)展的特點。因此,當(dāng)代中國水性材料繪畫語言不僅僅需要對中國傳統(tǒng)文化精髓的繼承發(fā)展,同時更需要對西方文化積極方面的大膽借鑒,從而促進中國當(dāng)代水性材料繪畫語言的快速發(fā)展。第二部分是對西方水性材料的藝術(shù)實踐對中國當(dāng)代水性材料繪畫語言的影響分析。西方水性材料繪畫語言有著自身的獨特性,如在色彩語言上具有觀念性、情感性與寓意性;在線性語言上具有運動性與方向性;在光色語言上具有光色和諧與光影閃爍性。這些特點是中國傳統(tǒng)水性材料繪畫語言所不具備的。因此,西方水性材料的藝術(shù)實踐對中國當(dāng)代水性材料繪畫語言帶來了新的轉(zhuǎn)變,促進了中國繪畫的現(xiàn)代轉(zhuǎn)換。第三部分對中國水性材料繪畫語言的內(nèi)在生命進行了深入發(fā)掘與剖析。中國傳統(tǒng)水性材料繪畫在線條、明暗、色彩等形式方面獨具特色,在畫面中又具有天人合一的精神境界、佛禪的空靈相融、追求倫理道德等諸多特點,這些特點在具體的作品中呈現(xiàn)出了氣韻生動、因心而動和情景交融的意境之美,同時也延展出以意賦色的主觀之美、以情賦色的和諧之美和以形寫神的造型之美。這些民族特色是中國當(dāng)代水性材料繪畫的生命力所在,也是其走向世界實現(xiàn)創(chuàng)新的內(nèi)在驅(qū)動力。第四部分是對中國當(dāng)代水性材料繪畫語言的藝術(shù)實踐闡釋。中國水性材料繪畫語言形在載體、題材、色彩、技法、意境等方面都有著自身的特點,水性材料繪畫語言在中國語境中體現(xiàn)著透明性與非透明性的融合、濃與淡的結(jié)合、肌理的豐富性、水性材料的創(chuàng)新性、抽象概念的吸納與“寫意”觀念的傳承特點,他們共同構(gòu)成了水性材料繪畫語言在中國語境中的多種樣態(tài)。第五部分是對中國水性材料繪畫語言的藝術(shù)范型舉隅。主要對林風(fēng)眠、吳冠中、王肇民三位藝術(shù)家的選用材料與表現(xiàn)風(fēng)格進行了分析。林風(fēng)眠是將東西方繪畫因素有機融合的典型代表,他用線條打破了元以后的筆墨體系,同時使用水彩、水墨、水粉把濃重的色彩與艷麗的視覺形象統(tǒng)一起來;吳冠中在水墨畫中灌注了西方繪畫藝術(shù)的形式主義,將水墨畫中的線面構(gòu)成與西方水性材料繪畫語言的塊面構(gòu)成有機融合,從而體現(xiàn)出了視覺的張力與色彩的豐富性;王肇民對光影的變化及形體的認(rèn)識有著獨到性,在其作品中呈現(xiàn)出國畫的筆法、油畫的色彩、素描的功力和詩的境界。第六部分是對當(dāng)代中國水性材料繪畫語言的應(yīng)用與思考。當(dāng)代中國水性材料繪畫語言在構(gòu)圖上不僅要考慮主次關(guān)系、物像之間的聚散虛實、色彩搭配等問題,同時需要考慮文化理念與文化跡象的滲透。在裝飾應(yīng)用中體現(xiàn)出黑白裝飾、重彩裝飾、水墨裝飾的表現(xiàn)形式。由此可以看出,當(dāng)代中國水性材料繪畫語言在多元整合、民族性與人文主義內(nèi)涵等諸多方面不斷推陳出新。第七部分是論文的結(jié)語,論文強調(diào)藝術(shù)的魅力在于個性的張揚與不同文化的相互融合。理解當(dāng)代中國水性材料繪畫語言必須置身于當(dāng)代社會發(fā)展的時代背景,置身于不同文化之間的相互交融。因為不同的文化話語帶來不同的理念,也同時帶來不同的藝術(shù)精神。這就需要從事水性材料繪畫的藝術(shù)家們在藝術(shù)的征程上勇于實踐、不斷鉆研探索,在民族性與域外文化交融中促進當(dāng)代中國水性材料繪畫語言的豐富與創(chuàng)新。
[Abstract]:The history of Chinese art development in twentieth Century is a history of criticizing and inheriting the excellent traditional culture of the nation. It is also a history of reference and absorption of the western art trend of thought. The development of Chinese water-based material painting language can be said to be in the course of reference and absorption of the inheritance and development of national excellent traditions and Western art. It is a gradual process that the painting language of sexual painting is gradually transformed from traditional form to modern form. In this process, the artists' adherence to the essence of national culture and the absorption and absorption of Western water-based material painting are also filled. This paper is on the evolution and characteristics of contemporary Chinese water-based materials painting language. The thesis is divided into seven parts: the first part is the introduction, which mainly introduces the problems and challenges facing the Chinese water based material painting language. The significance and value of this study and the combing of relevant literature and the innovation of the paper. There are certain limitations in the development of Chinese water-based materials painting language, such as the singleness of the use of pigments, the binding of the selection of bases, the stylization of performance techniques and so on. This limitation urgently needs Chinese water-based materials painting. The innovation of language, because the law of the development of art is characterized by the integration of various cultures and the characteristics of innovation and development. Therefore, the contemporary Chinese water-based material painting language needs not only the inheritance and development of the essence of Chinese traditional culture, but also the great use of the western culture to promote the contemporary Chinese water-based material painting. The rapid development of language. The second part is the analysis of the influence of the art practice of Western water-based materials on Chinese contemporary water-based material painting language. The Western water-based material painting language has its own uniqueness, such as the concept, emotion and meaning in the color language; the online language has movement and direction; in the light color Language has light color harmony and light and shadow flicker. These features are not available in Chinese traditional water-based materials painting language. Therefore, the art practice of Western water-based materials has brought a new transformation to Chinese contemporary water-based materials painting language and promoted the modern transformation of Chinese painting. The third part of the Chinese water-based materials painting language The inner life has been deeply excavated and analyzed. The traditional Chinese water-based material painting is unique in the form of line, shade, color and so on. In the picture, it has the spiritual realm of harmony between heaven and man, the spiritual harmony of Buddhism and Zen, and the pursuit of ethical and moral characteristics. These features are vivid in the specific works and are moved by the heart. The beauty of the artistic conception of harmony with the scene also extends the beauty of subjective color, the beauty of harmony and the beauty of the shape of the God. These national characteristics are the vitality of the contemporary Chinese water material painting and the inner driving force to realize the innovation in the world. The fourth part is the contemporary water material in China. The interpretation of the art practice of the painting language. The language of Chinese water material painting has its own characteristics in the carrier, subject, color, technique and artistic conception. The water material painting language embodies the fusion of transparency and non transparency in the Chinese context, the combination of thick and light, the richness of the texture, the innovation and abstract concept of the water-based materials. In the fifth part, the fifth part is an example of the art model of Chinese water-based materials painting language, which mainly analyzes the selection material and expression style of the three artists of Lin Fengmian, Wu Guanzhong and Wang Zhaomin. The wind sleep is a typical representative of the organic integration of the East and west painting factors. He broke the pen and ink system after the Yuan Dynasty. At the same time, he used watercolor, ink and water to unite the heavy color with the bright visual image. Wu Guanzhong perfused the formalism of Western painting in the ink painting, and made the line surface in the ink painting to the West. The block surface of the painting language of the square water material constitutes an organic fusion, which embodies the visual tension and the richness of the color; Wang Zhaomin has the uniqueness of the change of light and shadow and the understanding of the form. In his works, it presents the style of the Chinese painting, the color of the oil painting, the power of the sketch and the realm of the poem. The sixth part is about the contemporary Chinese water-based materials. The application and thinking of material painting language. The contemporary Chinese water-based material painting language should not only consider the relationship between the primary and secondary, the virtual reality and the color collocation among the objects, but also the infiltration of cultural ideas and cultural signs. In the decorative application, the form of black and white decoration, heavy color decoration and ink and ink decoration are reflected in the decorative application. This can be seen that the contemporary Chinese water-based materials painting language in the integration of multiple, national and humanistic connotation, and many other aspects of the new. The seventh part is the conclusion of the thesis, the thesis emphasizes that the charm of art lies in the development of individuality and the integration of different cultures. The background of the development of the contemporary society lies in the blending of different cultures. Because different cultural discourse brings different ideas and brings different artistic spirit at the same time, it is necessary for the artists who are engaged in the painting of water-based materials to be brave in the journey of art, to continue to study and explore, and to make the national and extraterritorial culture. Fusion promotes the enrichment and innovation of contemporary Chinese waterborne material painting language.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2017
【分類號】：J205

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