本文關鍵詞： 藝術家 傳統(tǒng)紋飾 形符　出處：《山西師范大學》2013年碩士論文　論文類型：學位論文

【摘要】：藝術家把對象的訊息，熔化在他的想象熔爐中，進而反芻發(fā)酵成形，而這種過程的結(jié)果，就是發(fā)現(xiàn)了一個造形形式的新世界。藝術雖無國界，但不可否認中國油畫的發(fā)展曾受西方主流藝術文化的強勢攻擊。在新藝術環(huán)境的滋長中，眾油畫家都在提倡中國油畫的民族化，并各有千秋。以我看來，中國傳統(tǒng)紋飾及形符或許更能作為記錄中國歷史發(fā)展的另一種標志性信號，并承載著社會文明，這極具民族化的符號為何不能加以裝飾用之以中國油畫。而現(xiàn)代形構主宰著當代油畫創(chuàng)作的構圖形式，在畫面形式感的創(chuàng)作中又獨占鰲頭。這兩者的結(jié)合，可算是天作之合，在獨具中國傳統(tǒng)繪畫精神的前提下且不失當代趣味。不論是否理想，但藝術之門終歸應是敞開的，故此一試。 本文雖用了大量的外國大師作品做指導，但對藝術創(chuàng)作者而言，自然才是一切靈感的源頭。藝術家是自然的各種形式的發(fā)現(xiàn)者，透過與生俱來的本能感應，，加上知識、情感與想象力的總合運作，處理來自自然的記憶與幻想，將他的體驗轉(zhuǎn)換在媒材上，借助材質(zhì)、色彩、空間等來進行創(chuàng)作，不是復制外在可見的事實，而是對實在的發(fā)現(xiàn)，在大自然形、色體態(tài)中參照、體認和融會后，展現(xiàn)藝術家的生命力。本創(chuàng)作研究首先透過文獻分析的方式，以探究藝術工作者自身的繪畫創(chuàng)作為主軸，透過筆者長期以來關注的裝飾性圖像課題研討，結(jié)合創(chuàng)作實踐之歷程，來探討中國傳統(tǒng)紋飾的起源與發(fā)展、傳統(tǒng)紋飾的象征意義以及對于形符、圖案的觀念、圖式表現(xiàn)形式、圖式在畫面中的形構、圖式的運用等，對繪畫藝術的當代裝飾性做詮釋。
[Abstract]:The artist melts the message of the object in his imaginary melting pot, and then regurgitates and forms, and the result of this process is the discovery of a new world of formative forms. However, there is no denying that the development of Chinese oil painting has been strongly attacked by the mainstream western art culture. In the development of the new art environment, many oil painters are advocating the nationalization of Chinese oil paintings and have their own merits. In my opinion, Chinese traditional ornaments and charms may be more likely to serve as another iconic signal to record the development of Chinese history and bear the burden of social civilization. Why can't this extremely nationalized symbol be decorated with Chinese oil paintings? and modern configuration dominates the composition of contemporary oil paintings and dominates the creation of a sense of form. The combination of the two can be regarded as a combination of nature. On the premise of having the spirit of Chinese traditional painting and without losing the contemporary interest, whether ideal or not, the door of art should be open, so try it. This article uses a large number of foreign master works as a guide, but to art creators, nature is the source of all inspiration. Artists are the discoverers of nature in all its forms, through innate instinctive induction and knowledge. The combination of emotion and imagination, dealing with memories and illusions from nature, transforming his experience into a medium, creating with the aid of materials, colors, spaces, etc., is not a reproduction of external visible facts, but a discovery of reality. Referring to, recognizing and merging with nature in the form of nature and color, this creative research shows the vitality of the artist. First of all, through the way of literature analysis, this creative research takes the exploration of the artists' own painting creation as the main axis. Through the discussion of decorative image, which has long been concerned by the author, and combined with the course of creative practice, this paper discusses the origin and development of Chinese traditional pattern, the symbolic significance of traditional pattern, the concept of form symbol, pattern, and the form of schema expression. The form construction and application of schemata in the picture explain the contemporary decoration of painting art.
【學位授予單位】：山西師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J522;J213

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