發(fā)布時間：2018-02-27 19:16

  本文關(guān)鍵詞： 白曉軍 山水畫 平面構(gòu)成 元素 形式　出處：《廣西師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：中國山水畫自魏晉南北朝時期形成,隋唐時期以獨立畫種的姿態(tài)登上中國畫壇后,歷經(jīng)各個朝代,千百年的演進,成為中國最具影響力和生命力的畫種之一。清代畫家石濤有云：“筆墨當(dāng)隨時代”,現(xiàn)當(dāng)代山水畫領(lǐng)域的不少杰出畫家把這這個藝術(shù)理論運用在實踐中產(chǎn)生了很多優(yōu)秀的作品。自改革開放以來,中國社會的進一步發(fā)展,中西方文化進一步交融,使中國山水畫更主動的吸收了西方的藝術(shù)理念和藝術(shù)表現(xiàn)形式�，F(xiàn)當(dāng)代隨著信息量的增大,外來文化的影響,為了適應(yīng)時代的審美需求,中國山水畫也在不斷創(chuàng)新。中國山水畫的發(fā)展不能一味的恪守傳統(tǒng),而是要在傳統(tǒng)的基礎(chǔ)上謀發(fā)展。當(dāng)代很多山水畫家在遵循中國畫傳統(tǒng)的基礎(chǔ)上,把西方的構(gòu)成理念帶入中國山水畫的創(chuàng)作中,使山水畫的創(chuàng)作形式更加豐富。 平面構(gòu)成為西方設(shè)計領(lǐng)域三大構(gòu)成之一,其豐富的構(gòu)圖形式帶給人們極富沖擊力的視覺感受。其點、線、面的基本組成元素與中國山水畫中點、線的組成有著內(nèi)在的聯(lián)系。筆墨是中國山水畫的主要運用手段,點、線在筆墨中的表現(xiàn)也構(gòu)成了中國山水畫的主要表現(xiàn)形式。隨著中國教育的發(fā)展,當(dāng)代中國山水畫,也逐漸在吸取西方的平面構(gòu)成元素形式,體現(xiàn)在點、線、面的基本組合及排列,以及空間形式的組合。在這一方面,白曉軍在他的山水畫創(chuàng)作中予以了借鑒,在作品中對其有了隱性的表現(xiàn)。他的作品中點、線的運用,以及空間形式的組合,在遵循中國畫傳統(tǒng)的基礎(chǔ)上,吸收了平面構(gòu)成的構(gòu)成元素和構(gòu)圖形式,來表現(xiàn)桂北地區(qū)及漓江沿岸的特色風(fēng)貌。他的山水畫作品特色鮮明,蒼茫秀美,卻不拘泥于傳統(tǒng),很有時代感和現(xiàn)代感。本文以白曉軍的山水畫作品為例,重點研究平面構(gòu)成元素和形式在他山水畫作品中的運用,發(fā)現(xiàn)其中的規(guī)律性,為山水畫的創(chuàng)新提供更多的借鑒。 論文的第一章介紹了白曉軍山水畫作品風(fēng)格特征的形成,首先說明了白曉軍山水畫作品風(fēng)格形成的文化語境,是基于改革開放的時代背景下,他開始進入專業(yè)的學(xué)習(xí)和發(fā)展過程。在這樣一個開放包容的時代,外來文化與中國文化的交匯,形成中西文化的交融。他在學(xué)校學(xué)習(xí)傳統(tǒng)文化的同時,受到西方藝術(shù)理念的熏陶。另外由于長期居于桂林這樣一座國際旅游名城,能夠接觸到大量外來的文化和理念。在這樣一個環(huán)境里,加之自身喜歡嘗試創(chuàng)新的性格,造就了他的作品風(fēng)格,在傳統(tǒng)的基礎(chǔ)上吸收西方構(gòu)成理念來表達。其次就是分析白曉軍山水畫作品的藝術(shù)特征,通過漓江流域的審美特質(zhì)以及章法和筆墨的分析,探尋他作品中傳達出的雄渾豪放的野趣和清潤秀美的幽深的藝術(shù)風(fēng)格。 論文的第二章主要介紹白曉軍山水畫作品中平面構(gòu)成元素與形式的運用。首先介紹他的作品與平面構(gòu)成基本形式的關(guān)系,通過總體概括探究兩者之間的內(nèi)在聯(lián)系。其次是對白曉軍山水畫作品中平面構(gòu)成元素與形式的運用進行分析,這是本論文的重點。在這一章里,分別說明平面構(gòu)成元素與形式的概念,點、線、面各元素的介紹,以及平面構(gòu)成的空間形式,例如：重復(fù)、近似、漸變、發(fā)射、對比、密集等等。著重介紹白曉軍山水畫作品中如何運用平面構(gòu)成的元素與形式,運用大量圖例比較,重點分析他作品中對平面構(gòu)成元素與形式的借鑒,目的在于找到中國山水畫創(chuàng)作中運用平面構(gòu)成元素與形式的規(guī)律和方法,在創(chuàng)作中能夠更多更好的借鑒平面構(gòu)成的元素和形式,在繼承傳統(tǒng)的基礎(chǔ)上,為創(chuàng)新開辟一條新路。 論文的第三章,說明白曉軍山水畫創(chuàng)作中運用平面構(gòu)成元素與形式的意義。首先說明運用平面構(gòu)成元素與形式是當(dāng)代山水畫創(chuàng)作的可能途徑。基于現(xiàn)代人的審美需求,當(dāng)代很多中國畫家都借鑒了平面構(gòu)成的元素和形式來進行創(chuàng)作,有些表現(xiàn)為顯性的,有些表現(xiàn)為隱性的。在這一問題上,應(yīng)該確立堅守中國傳統(tǒng)文化立場,主動地吸收外來文化思想,把傳統(tǒng)文化與西方現(xiàn)代藝術(shù)理念融合起來。其次說明平面構(gòu)成元素與形式對當(dāng)代山水畫創(chuàng)新的啟示。通過白曉軍及其他畫家的作品可以看到,在當(dāng)代山水畫創(chuàng)作中運用平面構(gòu)成元素與形式進行創(chuàng)新思維的運用表現(xiàn),并說明這種形式對當(dāng)代中國山水畫創(chuàng)新的積極意義及啟示。
[Abstract]:Chinese landscape painting since the formation of the southern and Northern Dynasties, Sui and Tang Dynasties with independent painting attitude on the Chinese painting, after each dynasty, thousands of years of evolution, has become one of the most influential painting Chinese and vitality. The famous painter in Qing Dynasty, said: "when the ink with the times", many outstanding contemporary landscape painters the field of painting the art theory produced many excellent works in practice. Since the reform and opening up, further development of China society, western culture further blend, make Chinese landscape painting more active absorption of the western philosophy of art and contemporary art forms. With the increase of the amount of information, the influence of foreign culture, in order to meet the aesthetic needs of the times, Chinese landscape painting is also innovative. The development of Chinese landscape painting can not blindly with the traditional, but to seek development on the basis of the tradition. Many contemporary landscape painters, based on the tradition of Chinese painting, bring the western concept of composition into the creation of Chinese landscape painting, making the form of landscape painting richer.
A plane is one of the three major areas of western design, its rich composition form brings stunning visual experience. The point, line, surface elements and basic composition China landscape painting midpoint line consists of an internal relationship. Pen and ink is mainly used means, China landscape painting, line in the text the performance also constitutes the main form of China landscape painting. With the development of Chinese education, Chinese contemporary landscape painting, gradually assimilating western elements embodied in the form of plane, point, line, face the basic combination and arrangement, and the combination of space form. In this regard, Bai Xiaojun in the creation of his landscape in the picture to draw in the works of the implicit performance. His works the midpoint, the use of line, and combination of space form, based on the traditional painting China, absorbed yuan planeconstitution Pigment and composition form, to the performance of Northern Guangxi and Lijiang River features. His landscape paintings have distinctive characteristics, vast and beautiful, but not rigidly adhere to the traditional, very contemporary and modern. Based on Bai Xiaojun's landscape painting works as an example, focus on the use of plane constituted elements and forms in his landscape paintings the discovery of the laws provide more reference for the innovation of landscape painting.
The first chapter introduces the formation of white Xiaojun landscape painting works style, the white Xiaojun landscape painting works style formation of cultural context, is based on the background of reform and opening up, he began to enter the process of professional learning and development. In such an open and inclusive, multicultural and Chinese culture the formation of the blending of Chinese and Western culture. He studied traditional culture at the same time in the school, by the western art philosophy nurtured. In addition due to the long living in such a city of international tourism in Guilin, access to a large number of foreign culture and philosophy. In such an environment, coupled with their love to try innovative personality, style his works, on the basis of the traditional western philosophy to form expression. Second is the analysis of the artistic features of landscape painting works of Bai Xiaojun, the aesthetic qualities in Lijiang River Basin As well as the analysis of composition and ink, explore conveys his works in the bold and the beautiful deep moist rustic style.
The second chapter mainly introduces the works of landscape painting in the white plane Xiaojun formed with elements and form. Firstly, his works and plane constitute the basic form, through the summary to explore the intrinsic link between the two. The second is the use of elements and forms of graphic works of landscape painting white Xiaojun is analyzed, which is the key this paper. In this chapter, which illustrates the concept, elements and forms of planar point, line, surface elements, space form, and the plane constitute such as repetition, approximation, gradient, emission, contrast, intensive and so on. Focuses on how to use the plane constitute the elements and form of works Xiaojun of landscape painting, is the use of a large number of illustrations, focuses on the analysis of elements and form of reference plane in his works, the purpose is to find China landscape painting in the use of plane elements and shape The law and method of the style can be more and better in the creation of the elements and forms of plane composition, and on the basis of inheriting the tradition, it opens a new way for innovation.
In the third chapter, the Xiaojun landscape painting in the plane elements of form and meaning. Firstly using the plane elements and form is a possible approach to contemporary landscape painting. The modern aesthetic needs based on many contemporary painters Chinese reference plane elements and forms for the creation of some of10qtls, some recessive. On this issue, should be established to China traditional culture position, actively absorb foreign culture, traditional culture and modern western art concepts together. Secondly illustrates the enlightenment elements and forms of the innovation of contemporary landscape painting by Bai Xiaojun and other graphic form. The painter works can be seen, using graphic elements and forms of creative thinking in contemporary landscape painting, and explain this form of contemporary China The positive significance and Enlightenment of landscape painting innovation.

【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J212

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