本文選題：色彩　切入點：構成　出處：《遼寧師范大學》2013年碩士論文　論文類型：學位論文

【摘要】：本論文旨在研究色彩構成中的從屬與所屬的關系，研究繪畫作品中各色塊之間的相互關系及研究這種關系對繪畫作品的影響。 本文通過對繪畫作品色彩構成的分析與研究，以及探討西方繪畫理論與哲學的關系、中國色彩美學、東西方繪畫色彩關系的并構與重置等繪畫理論和繪畫語言，并通過其它藝術形式中的表現(xiàn)方式，曲調以及文字的節(jié)奏排列。進一步闡述色彩在其所屬基礎上由畫家進行主觀藝術處理的重要性和必要性，既通過對自然景物色彩的主觀再處理。將畫面中原本不符合畫家的思想感情，不能表達主觀情感的某些色塊，通過畫家的主觀經(jīng)營，調整為既符合畫家思想感情又使畫面更加具有形式美感的色塊。另外通過對自然景物的歸納總結將畫面中的色塊由單調的不相互聯(lián)系的色塊，轉變?yōu)樨S富多彩而又相互聯(lián)系且對畫面構成關系起到一定影響的色塊，使構成畫面的線條，顏色，，環(huán)境，造型等這些多而復雜的形式因素在理論上更加形象和富有條理，從而使畫面更加具有美感，更符合韻律美，使之達到對立統(tǒng)一的和諧。 本文還通過對中西方繪畫作品的舉例論述，特別是通過對唐代畫家張萱的畫作《虢國夫人游春圖》、南唐人物畫家顧閎中的《韓熙載夜宴圖》以及對中國當代畫家田黎明繪畫作品的分析、論述。同時對外國繪畫的諸多流派，例如法國納比派畫家博納爾，后印象派大師梵高等多幅畫作的色彩語言方面進行分析與探討。充分說明繪畫中的色彩關系是有它的從屬與所屬因素的，在分析畫作中色彩關系從屬與所屬的同時，深入分析出在色彩構成中的從屬與所屬關系的內在聯(lián)系和潛在意義。 本文力求對畫面色塊構成中的從屬與所屬這一現(xiàn)象，通過全面地總結與分析，證明它的存在性，以及這種關系對繪畫創(chuàng)作中畫面的形式感、韻律感的指導性作用，從而更好的為繪畫創(chuàng)作奠定堅實的根基。
[Abstract]:The purpose of this thesis is to study the relationship between subordination and ownership in color composition, and to study the relationship between each color block in painting and the influence of this relationship on painting. Through the analysis and study of color composition of painting works, the paper discusses the relationship between western painting theory and philosophy, Chinese color aesthetics, the combination and reconstruction of the color relationship between East and West painting, and the painting language. And through other artistic forms of expression, tunes and the rhythm of the text arrangement. Further elaborated the color on the basis of their own subjective art by the artist to deal with the importance and necessity, That is, through the subjective reprocessing of the colors of the natural scenery, and through the subjective management of the painter, some color blocks in the picture which were not in accord with the artist's thoughts and feelings and could not express the subjective feelings, Adjust to a color block that not only conforms to the artist's thoughts and feelings but also makes the picture more formal aesthetic. In addition, by summarizing the natural scenery, the color block in the picture is changed from a monotonous, unrelated color block. Changing into a colorful and interrelated color block that has a certain impact on the composition of the picture, which makes the lines, colors, environment, modeling of the picture more vivid and coherent in theory, such as the many and complex formal factors, such as line, color, environment, shape, etc. So that the picture has a more aesthetic sense, more consistent with the rhythm of beauty, so that the unity of opposites to achieve harmony. This article also through the Chinese and Western painting examples, In particular, through the analysis of the paintings of Tang Dynasty painter Zhang Xuan, "the Spring Pictures of Mrs. Guo," and "the Night Banquet of Han Xizai," by Gu Hong, a figure painter in the Southern Tang Dynasty, as well as an analysis of the paintings of Tian Liming, a contemporary Chinese painter, At the same time many schools of foreign painting, such as France's Nabidist painter Bonnard, The color language of many paintings such as Van Gogh, the post-Impressionist, is analyzed and discussed. It is fully explained that the color relationship in painting has its subordinate and subordinate factors. The inner relation and potential significance of the relationship between subordination and ownership in color composition are analyzed in depth. This paper tries to summarize and analyze the phenomenon of subordination and ownership in the composition of color blocks, and prove its existence, and the guiding effect of this relationship on the sense of form and rhythm in painting. So as to lay a solid foundation for painting creation.
【學位授予單位】：遼寧師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J206.3

【參考文獻】

相關期刊論文 前6條

1 唐成輝;;博納爾繪畫構圖的空間分析[J];美術之友;2007年03期

2 石永紅;;用色彩譜寫樂章——論博納爾的色彩語言[J];華章;2011年31期

3 賀偉;;淺析油畫畫面之色塊構成[J];科學之友;2010年19期

4 張玉泉;博納爾──色彩的魔術師[J];西北師大學報(社會科學版);1995年03期

5 王鴿子;張海燕;;識讀存在主義的課程目標觀[J];新課程(教育學術);2012年01期

6 莫祥瑩;;博納爾作品構圖的和諧美感探究[J];藝術探索;2007年04期

本文編號：1648474