本文關(guān)鍵詞： 臺(tái)灣重彩畫 地方色彩 材料 傳統(tǒng) 創(chuàng)新　出處：《山東師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：自石器時(shí)代開(kāi)始,當(dāng)人們有意識(shí)的將紋理印刻于器物上之時(shí),人類對(duì)于“美”的追求便再未止息。繪畫從最初的實(shí)用性功能逐步演變?yōu)橐婚T獨(dú)立的藝術(shù)形式,這一實(shí)質(zhì)性的跨越顯示出人們審美意識(shí)的不斷提高與無(wú)限的創(chuàng)造力。中國(guó)繪畫藝術(shù)歷史悠久,源遠(yuǎn)流長(zhǎng),經(jīng)歷了數(shù)千年的不斷豐富、創(chuàng)新與發(fā)展,形成了獨(dú)立的繪畫語(yǔ)言體系,在世界藝術(shù)之林占據(jù)著重要的地位。從最初的彩陶紋飾、巖畫、青銅器紋樣以及各種帛畫,到后來(lái)壁畫、絹畫以及紙本繪畫,中國(guó)繪畫無(wú)論是在繪畫形式還是繪畫載體上都呈現(xiàn)出百花齊放的樣態(tài)。而當(dāng)世界開(kāi)始慢慢連成一個(gè)整體,東西文化逐漸融合之后,中國(guó)繪畫也借此契機(jī)展現(xiàn)出全新的面貌。臺(tái)灣地區(qū)在藝術(shù)發(fā)展上與大陸同根同源,但由于歷史發(fā)展的原因造成其呈現(xiàn)出現(xiàn)有的獨(dú)特性,本文即抓住臺(tái)灣重彩畫發(fā)展的脈絡(luò)對(duì)這段歷史進(jìn)行一定的梳理,進(jìn)而對(duì)臺(tái)灣重彩畫現(xiàn)狀進(jìn)行闡述,在此之中穿插本人在臺(tái)交流期間對(duì)于臺(tái)灣重彩畫發(fā)展現(xiàn)狀的切身感受。本文共分為五個(gè)部分:前言部分,主要敘述我國(guó)繪畫歷史的源遠(yuǎn)流長(zhǎng)以及本文選題的原因。第一章,臺(tái)灣地區(qū)重彩畫的產(chǎn)生以及正式確立的過(guò)程,強(qiáng)調(diào)臺(tái)灣重彩畫與大陸繪畫藝術(shù)同根同源的關(guān)聯(lián)性以及臺(tái)灣重彩畫在其歷史發(fā)展過(guò)程中的特殊性。第二章,具體論述大陸以及日本對(duì)臺(tái)灣重彩畫發(fā)展的影響,介紹臺(tái)灣當(dāng)代重彩畫的發(fā)展脈絡(luò)及其代表人物,闡述臺(tái)灣重彩畫繪畫風(fēng)格中“地方色彩”這一特點(diǎn)。第三章,從材料技法、繪畫觀念以及審美趣味三個(gè)層面出發(fā),對(duì)重彩畫未來(lái)的發(fā)展趨勢(shì)進(jìn)行展望。結(jié)語(yǔ)部分,對(duì)于中國(guó)重彩畫藝術(shù)發(fā)展的傳統(tǒng)性與創(chuàng)新性進(jìn)行客觀衡量,提出中國(guó)當(dāng)代重彩畫家所背負(fù)的責(zé)任與使命。
[Abstract]:Since the Stone Age, when people consciously imprint the texture on the objects, the human pursuit of "beauty" will no longer stop. Painting from the original practical function gradually evolved into an independent art form. This substantive leap shows the continuous improvement of people's aesthetic consciousness and unlimited creativity. Chinese painting art has a long history and has experienced thousands of years of continuous enrichment innovation and development. Formed an independent painting language system, in the world of art occupies an important position, from the initial painted pottery ornaments, rock paintings, bronze patterns and various silk paintings, to later murals, silk paintings and paper painting. Chinese painting, whether in the form of painting or on the painting carrier, all show the appearance of a hundred flowers blooming. But when the world began to gradually join into a whole, after the gradual integration of the East and West cultures. Chinese painting also takes this opportunity to show a new face. Taiwan has the same roots as the mainland in the development of art, but due to the reasons of historical development, it presents some unique features. This paper grasps the development of heavy color painting in Taiwan to sort out this section of history, and then expounds the current situation of heavy color painting in Taiwan. In this way, I interspersed my personal feelings about the development of heavy color paintings in Taiwan during the exchange period. This paper is divided into five parts: foreword. The main description of the history of painting in China and the reasons for this topic. Chapter 1, the emergence of the Taiwan area and the formal establishment of the process. Emphasized the Taiwan heavy color painting and the mainland painting art homologous correlation as well as Taiwan heavy color painting in its historical development process particularity. The second chapter discusses the influence of the mainland and Japan on the Taiwan heavy color painting development. This paper introduces the development of the contemporary heavy color painting in Taiwan and its representative characters, and expounds the characteristics of "local color" in the painting style of Taiwan heavy color painting. Chapter three, from the material technique. Painting concept and aesthetic taste three levels, the development trend of heavy color painting in the future is prospected. Conclusion, the traditional and innovative of the development of Chinese heavy color painting art are objectively measured. Put forward the responsibility and mission of Chinese contemporary heavy color painters.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

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本文編號(hào)：1483735