本文選題：光影　切入點(diǎn)：情感　出處：《湖南師范大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

【摘要】：水彩畫注重的是光與色的表現(xiàn),就好比富有迷人魅力的輕音樂,它以輕快、優(yōu)雅、色彩絢麗等特色令人心曠神怡!它那水色交融、揮灑淋漓的藝術(shù)語言,給人以獨(dú)特的美感和藝術(shù)享受!而光色的藝術(shù)魅力卻不僅僅存在于水彩畫中,在其他的畫種里也起到非常重要的作用,最早表現(xiàn)光影藝術(shù)的是文藝復(fù)興時期,當(dāng)時對光影的表現(xiàn)還只是對客觀物象的再現(xiàn),直到現(xiàn)在,光影已經(jīng)成為了繪畫當(dāng)中一項(xiàng)獨(dú)立的藝術(shù)語言,藝術(shù)家們已經(jīng)利用光影組織構(gòu)圖、增添氣氛、抒發(fā)情感等手法來展現(xiàn)自己的繪畫作品。對于水彩風(fēng)景寫生來說,表現(xiàn)畫面的光影效果和對自然界的研究和探索一樣重要,如果對光影的表現(xiàn)不夠微妙,就會使畫面缺少與自然銜接的魅力。同時,要把光影與主觀意象融會起來,把游走于主客觀物象的創(chuàng)作意念貫注在畫面之中,使其空靈而不空虛,對比強(qiáng)烈而又變化豐富、微妙。 光影的形成因素、表現(xiàn)技法和在繪畫中起到的作用是筆者研究的重要目的,在研究的過程中發(fā)現(xiàn),許多藝術(shù)家都喜歡光影這個題材,對光影的研究也非常透徹,于是筆者借鑒了藝術(shù)大師們的經(jīng)驗(yàn),分析了光影表現(xiàn)在繪畫當(dāng)中的重要性是不能替代的。在中國,水彩畫由于融入了本土文化,光影的表現(xiàn)產(chǎn)生了更為豐富的形式。畫家打破慣性審美,脫離西方繪畫中光影表述范式的約束,以民族風(fēng)韻為新審美點(diǎn),融入中國傳統(tǒng)的繪畫精神,著重于光影內(nèi)在神韻的把握,用詩意的光影表現(xiàn)來營構(gòu)畫面。在當(dāng)代水彩畫中融入詩意的視覺審美追求,用光影抒寫詩意的想象,用詩意放大水彩畫的光影靈動,營造出一種詩意,從而豐富了藝術(shù)語言的表現(xiàn),激發(fā)觀者的情感反應(yīng)。由此可見,光影的表現(xiàn)在水彩畫中占有極為重要地位。 本論文共分為了四章,第一章主要是介紹光影在繪畫中的發(fā)展和主要功能。第二章說的是光影的形成因素。第三章介紹的是光影的藝術(shù)美感有哪些,并分析一些名家作品。最后一章是介紹了用于表現(xiàn)光影的技法及具有影響力的代表人物和作品。
[Abstract]:Watercolor painting is focused on the performance of light and color, just like the charming charm of light music, it is light, elegant, colorful and other characteristics to make people relaxed and happy!!! Its water color blend, wielding dripping artistic language, gives the person with the unique esthetic feeling and the artistic enjoyment! However, the artistic charm of light color not only exists in watercolor painting, but also plays a very important role in other painting types. The earliest expression of light and shadow art was in the Renaissance period. At that time, the expression of light and shadow was only a reappearance of objective objects. Up to now, light and shadow have become an independent artistic language in painting. Artists have used light and shadow to organize and compose pictures, to add atmosphere, to express their emotions, to show their paintings. It is just as important to show the effect of light and shadow as to study and explore nature. If the expression of light and shadow is not subtle enough, it will make the picture lack the charm of connecting with nature. At the same time, it is necessary to combine light and shadow with subjective image. The creative idea of wandering in the subjective and objective objects is absorbed in the picture, making it empty and not empty, contrast is strong and variety is rich, subtle. The formation factors of light and shadow, the techniques of expression and the role played in painting are the important purposes of the author's research. In the course of the study, it was found that many artists like the subject matter of light and shadow, and that the study of light and shadow is also very thorough. So the author learned from the experience of the masters of art, and analyzed the importance of light and shadow in painting is irreplaceable. In China, watercolor painting because of the integration of local culture, The expression of light and shadow produces a richer form. The painter breaks the habit of aesthetics, breaks away from the restriction of the paradigm of light and shadow expression in western painting, takes the national charm as the new aesthetic point, and melts into the traditional Chinese painting spirit. Focusing on the grasp of the inner charm of light and shadow, we use poetic light and shadow to construct the picture. In contemporary watercolor painting, we incorporate the poetic aesthetic pursuit of vision, use light and shadow to express poetic imagination, and use poetry to amplify the light and shadow of watercolor. It creates a poetic meaning, which enriches the expression of artistic language and stimulates the emotional reaction of the viewer. Thus, the performance of light and shadow plays an extremely important role in watercolor painting. This thesis is divided into four chapters. The first chapter mainly introduces the development and main functions of light and shadow in painting. The second chapter is about the forming factors of light and shadow. The third chapter is about the aesthetic feeling of light and shadow. The last chapter introduces the techniques used to express light and shadow and the influential representative figures and works.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J215

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