本文關(guān)鍵詞：論“無聲”畫境　出處：《吉林藝術(shù)學(xué)院》2016年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： “無聲”世界 靜 悲劇性 永恒感

【摘要】：畢業(yè)創(chuàng)作以我對(duì)“無聲”世界的精神體驗(yàn)為始,從對(duì)客觀現(xiàn)象世界的感想與體悟中受到感染,尤其聚焦于光線影響下的空間世界,在靜止的世界中發(fā)現(xiàn)心靈的律動(dòng)與回響,在對(duì)“無聲”世界不斷尋找的過程中思索其在藝術(shù)實(shí)踐上的可能性,之后在倪云林與愛德華霍珀兩位中西藝術(shù)家身上獲得啟示,從他們身上吸收與“無聲”畫境主題相契合的精神思想,結(jié)合自己的體驗(yàn)歸納出“無聲”畫境的三個(gè)特征——“靜”“悲劇性”與“永恒感”。在這一不斷探索的過程中回復(fù)自己對(duì)于主題的思考,最后在創(chuàng)作實(shí)踐中使“無聲”畫境得以實(shí)現(xiàn)。
[Abstract]:In my graduation creation of the "silent" world of spiritual experience as the beginning, from the objective phenomenon of the world feel and experience are infected, especially focusing on the world space under the influence of light, rhythm and soul found in still echoes in the world, in thinking about "the possibility in art practice on the process of silence" the world is constantly looking for the inspiration in Ni Yunlin, after Edward and Hopper two Chinese artists, absorption agrees with the "silent" theme of the painting spirit from them, combined with their own experience summed up the "silent" painting of the three characteristics of "static" tragedy "and" perpetual "thinking on the subject. His reply in the process of continuous exploration, finally in the creative practice of the" silent "painting can be achieved.

【學(xué)位授予單位】：吉林藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類號(hào)】：J212

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1 蔡則可;論“無聲”畫境[D];吉林藝術(shù)學(xué)院;2016年

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