本文選題：水墨人物畫(huà)　切入點(diǎn)：色彩　出處：《中央民族大學(xué)》2017年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：民族特色是中國(guó)畫(huà)藝術(shù)特點(diǎn)之一,隨著中國(guó)人物畫(huà)的發(fā)展,對(duì)于民族題材繪畫(huà)的關(guān)注度越來(lái)越高,特別是民族院校,到少數(shù)民族地區(qū)實(shí)習(xí)寫(xiě)生已成為專(zhuān)業(yè)的必修環(huán)節(jié)。從水墨人物畫(huà)的發(fā)展來(lái)看,"色彩"這一特殊的表現(xiàn)元素,無(wú)論是中國(guó)畫(huà)改革過(guò)程中出現(xiàn)的"彩墨畫(huà)",還是現(xiàn)代都市題材水墨人物畫(huà)中色彩的運(yùn)用,都呈現(xiàn)出不同的時(shí)代特色。在中國(guó)文化發(fā)展的過(guò)程中,形成了具有中國(guó)特色的色彩表現(xiàn)形式,其中包括原始巖畫(huà)、彩陶、壁畫(huà)、年畫(huà)、刺繡、染織等,種類(lèi)繁多,是廣大勞動(dòng)人民幾千年來(lái)智慧的結(jié)晶;體現(xiàn)了中國(guó)民族色彩的豐富性、趣味性、情感表達(dá)純粹等特點(diǎn);蘊(yùn)含著中國(guó)哲學(xué)、民族審美、民族情感、文化精髓,具有獨(dú)特的藝術(shù)魅力。從水墨人物畫(huà)的發(fā)展來(lái)看,中國(guó)民族色彩中的各種色彩表現(xiàn)形式成為重要的借鑒來(lái)源。如林風(fēng)眠、蒲國(guó)昌、田黎明、李洋、張道興等優(yōu)秀的畫(huà)家,正是從中找到了靈感,形成屬于自己的色彩表現(xiàn)方式,實(shí)現(xiàn)了水墨人物畫(huà)在色彩應(yīng)用上的突破,繼承了中國(guó)文化的精髓�，F(xiàn)代少數(shù)民族題材水墨人物畫(huà)創(chuàng)作,既要體現(xiàn)外在民族特征,又要表達(dá)民族情感和精神內(nèi)涵。外在民族特征包括民族人物的形象、民族服飾、裝飾紋樣、色彩元素等,其中的色彩元素傳達(dá)著少數(shù)民族獨(dú)特的審美意識(shí)和情感。運(yùn)用色彩來(lái)表現(xiàn)少數(shù)民族外在特征和內(nèi)在情感,豐富了表現(xiàn)語(yǔ)言,增加了時(shí)代感。在創(chuàng)作實(shí)踐中,我們發(fā)現(xiàn)少數(shù)民族題材水墨人物畫(huà)中色彩的表現(xiàn)形式卻是相對(duì)固定和單調(diào)的。在多元文化的時(shí)代環(huán)境中,已有的表現(xiàn)形式已經(jīng)不能再滿足我們的情感表達(dá),探索新的色彩表現(xiàn)方式成為我們必須面對(duì)和解決的課題。但是在此過(guò)程中,融合運(yùn)用中國(guó)民族色彩時(shí)還存在一些問(wèn)題:過(guò)于追求民族特征,運(yùn)用色彩元素有失妥當(dāng);或過(guò)于追求時(shí)代性,形成錯(cuò)誤的色彩觀念;色彩語(yǔ)言和筆墨語(yǔ)言的不統(tǒng)一;作品空洞乏味,徒有其表,沒(méi)有內(nèi)涵等。因此,在中國(guó)民族色彩的融合運(yùn)用時(shí),不能直接照搬或單純描摹外在特征,應(yīng)結(jié)合自己的真實(shí)感受和體驗(yàn),有意識(shí)地吸收其精髓,深入探索,合理運(yùn)用,這樣的作品才具有時(shí)代感和民族精神內(nèi)涵。筆者在少數(shù)民族題材水墨人物畫(huà)的學(xué)習(xí)中,有意識(shí)的做了一些嘗試。這些作品以解決色彩和筆墨關(guān)系問(wèn)題為切入點(diǎn),融合運(yùn)用民族服飾色彩、蠟染等元素,結(jié)合生活實(shí)踐和自身感受來(lái)表現(xiàn)創(chuàng)作的。中國(guó)民族色彩的無(wú)限魅力,為我創(chuàng)作帶來(lái)了靈感,打開(kāi)了新的思路。
[Abstract]:National characteristics are one of the characteristics of Chinese painting art. With the development of Chinese figure painting, the attention to ethnic painting has become more and more high, especially in ethnic colleges and universities. To practice and sketch in minority areas has become a compulsory part of the profession. From the point of view of the development of ink and wash figure painting, "color" is a special performance element. Whether it is "color ink painting" that appears in the reform process of Chinese painting, or the use of color in modern city subject ink figure painting, it presents different characteristics of the times. In the process of development of Chinese culture, Has formed the Chinese characteristic color expression form, including the primitive rock painting, the colored pottery, the mural, the New year painting, the embroidery, the dyeing and weaving and so on, various kinds, is the broad working people thousands of years wisdom crystallization; It embodies the richness, interest and pure expression of Chinese national color, and contains the essence of Chinese philosophy, national aesthetics, national emotion and culture, and has a unique artistic charm. The various forms of color expression in Chinese national colors have become an important source of reference. For example, Lin Fengmian, pu Guochang, Tian Liming, Li Yang, Zhang Daoxing and other outstanding painters have found inspiration and formed their own way of color expression. Has realized the breakthrough in the color application of the ink figure painting, inherited the essence of the Chinese culture. We should also express the national feelings and spiritual connotations. The external national characteristics include the image of national figures, national costumes, decorative patterns, color elements, etc. The color elements convey the unique aesthetic consciousness and emotion of the minority nationalities. The use of color to express the external characteristics and internal emotions of ethnic minorities enriches the expressive language and increases the sense of the times. We find that the forms of expression of color in the paintings of the minority subjects are relatively fixed and monotonous. In the multicultural environment, the existing forms of expression can no longer satisfy our emotional expression. Exploring new ways of color expression has become a subject that we must face and solve. However, in the process, there are still some problems in the process of fusion and application of Chinese national color: too much pursuit of national characteristics and improper use of color elements; Or too much pursuit of the times, the formation of a wrong color concept; the disunity of the color language and the brush and ink language; the emptiness of the work, which has its own surface and no connotation, etc. Therefore, in the application of the Chinese national color, Instead of directly copying or simply describing external characteristics, one should combine one's own true feelings and experiences, consciously absorb its essence, explore deeply and use it rationally, This kind of work has the sense of the times and the connotation of the national spirit. The author has consciously made some attempts in the study of the paintings of the minority nationalities. These works take solving the problem of the relationship between color and ink as the breakthrough point. The combination of national dress color, batik and other elements, combined with life practice and their own feelings to express the creation of the boundless charm of Chinese national color, for me to create inspiration, opened a new way of thinking.
【學(xué)位授予單位】：中央民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J212

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相關(guān)碩士學(xué)位論文 前3條

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本文編號(hào)：1563659