本文選題：工筆畫　切入點(diǎn)：綜合材料　出處：《延邊大學(xué)》2017年碩士論文

【摘要】：傳統(tǒng)工筆畫的繪畫特點(diǎn)就是"工細(xì)",講究工整的線條和嚴(yán)謹(jǐn)自然的設(shè)色。發(fā)展到至今工筆畫已然形成了完整的繪畫體系,回顧幾千年的工筆畫發(fā)展歷程,在其內(nèi)容、技法、風(fēng)格都有著顯著的變化。我們一直從其時(shí)代背景,經(jīng)濟(jì)發(fā)展,社會(huì)人文的角度去分析工筆畫的發(fā)展與變革。而作為一名學(xué)習(xí)繪畫的學(xué)生,在作品的創(chuàng)作過程中發(fā)現(xiàn),不同的材料對(duì)于最終形成的繪畫的風(fēng)格,有著巨大的影響。本文首先從綜合材料的角度出發(fā)回顧了工筆畫中傳統(tǒng)材料的發(fā)展歷程,并闡述了綜合材料的概念以及分類。傳統(tǒng)材料,是我們對(duì)從過去被沿用至今的材料的一種統(tǒng)稱。繪畫材料本身就源自于生活中的各類用品,沒有單獨(dú)從開始就服務(wù)于繪畫而產(chǎn)生的獨(dú)立材料。隨著后來的發(fā)展和演變傳統(tǒng)的繪畫材料也是從龐大的綜合材料體系中慢慢固定下來的一些材料。綜合材料,簡單解釋就是跨越了畫種的界限和材料的使用范疇,將一切可以使用的媒介材料加上技法運(yùn)用到繪畫中�；究梢苑殖伤拇箢�;金屬材料、軟材料、有機(jī)高分子材料和現(xiàn)成品。在第三章當(dāng)中本人三個(gè)方面分析了材料的改變對(duì)工筆畫的影響。首先技法運(yùn)用的拓展,關(guān)于新技法主要指第一古法新用;第二就是指吸取外來的繪畫技法。但為了凸顯其內(nèi)心的想法和視覺效果,藝術(shù)家們?cè)诋嬅嫔纤故径嗍且环N以上的復(fù)合技法。其次視覺效果的豐富,現(xiàn)今人們的思想審美都在進(jìn)步,傳統(tǒng)工筆畫單一的材料技法,無法滿足作家表現(xiàn)自我時(shí)對(duì)畫面視覺感的追求,而綜合材料能迎合作家的創(chuàng)作需求,提供多種方式豐富工筆畫的繪畫語言。最后,是審美方向的改變,為了迎合現(xiàn)代人的審美需要,畫家更多地去尋求繪畫語言的表現(xiàn)方式,而材料的豐富也在影響著繪畫審美的方向,這種影響有時(shí)直接推動(dòng)了審美的發(fā)展方向。以上三點(diǎn)都以實(shí)例分析的方式對(duì)現(xiàn)今具有代表性的工筆畫家如:張導(dǎo)曦、唐勇力、陳子、羅寒蕾人的作品進(jìn)行了研究。第四章則是對(duì)自己畢業(yè)創(chuàng)作實(shí)踐過程的闡述。主要以拓印的技法為主,在拓印的基礎(chǔ)上選擇了不同的材料來進(jìn)行實(shí)踐創(chuàng)作。本人嘗試用不同的拓印材料來處理畫面,整個(gè)創(chuàng)作過程中的主要使用到的材料有玻璃板、白乳膠、塑料薄膜、溫州皮紙、國畫顏料、丙烯顏料、毛筆、排刷等,力求所使用的新材料能與傳統(tǒng)的繪畫融為一體增加畫面的表現(xiàn)力,四幅畫都已"荷花"作為創(chuàng)作主題,但是希望通過不同的創(chuàng)作手段和拓印材料表現(xiàn)出不一樣的畫面效果。第五章結(jié)語則是本人對(duì)這次綜合材料在工筆畫中的運(yùn)用研究中整體的一些感悟和心得,對(duì)在綜合材料和工筆畫之間的關(guān)系進(jìn)行了總結(jié)。
[Abstract]:The painting characteristic of traditional fine brushwork is "fine work", pay attention to neat lines and rigorous and natural colors. Until now, fine brushwork painting has formed a complete painting system. Looking back on the development course of thousands of years of fine brushwork painting, in its content and technique, There have been significant changes in style. We have been analyzing the development and transformation of fine brushwork from the perspective of its background, economic development and social humanities. As a student of painting, we have found that in the process of creating works, Different materials have a great influence on the style of painting. Firstly, this paper reviews the development of traditional materials in fine brushwork from the perspective of comprehensive materials. The concept and classification of synthetic materials are expounded. Traditional materials are a general term for materials that have been used from the past to the present. Painting materials themselves are derived from all kinds of articles in daily life. There is no independent material that serves painting from the beginning alone. As it develops and evolves later, traditional painting materials are also materials that are slowly fixed from a large composite material system. Simple explanation is to cross the boundaries of painting and the use of materials, all available media materials plus techniques to apply to painting. Basically can be divided into four categories: metal materials, soft materials, In the third chapter, I analyze the influence of the change of materials on the painting. First, the development of the application of the techniques, about the new techniques mainly refers to the first ancient method of new use; The second point is to draw on foreign painting techniques. But in order to highlight their inner thoughts and visual effects, artists show more than one composite technique on the screen. Secondly, the visual effects are rich. Nowadays, people's ideology and aesthetics are progressing, the traditional techniques of single material of fine brushwork can not satisfy the writers' pursuit of visual sense of picture when they express themselves, and the comprehensive materials can meet the writers' creative needs. Provide a variety of ways to enrich the painting language of fine brushwork. Finally, it is the change of aesthetic direction. In order to meet the aesthetic needs of modern people, painters seek more ways to express painting language. The richness of materials also affects the direction of painting aesthetic appreciation, which sometimes directly promotes the direction of aesthetic development. The above three points are used to analyze the typical painters of meticulous brushwork such as Zhang Qiaoxi, Tang Yongli, and Chen Zi. Luo Hanlei's works are studied. The fourth chapter is about the process of his graduation creation. On the basis of printing, I choose different materials for practical creation. I try to use different printing materials to process the picture. The main materials used in the whole process of creation are glass plate, white latex, plastic film, Wenzhou leather paper. Chinese painting pigments, acrylic pigments, brushes, brushes, and so on, strive to use new materials and traditional painting to increase the performance of the picture, the four paintings have "lotus" as the theme of creation. However, I hope to show different picture effects through different creative means and extension materials. The fifth chapter is the conclusion of my understanding and experience on the application of this comprehensive material in the study of the application of this comprehensive material in fine brushwork. The relationship between comprehensive materials and fine brushwork is summarized.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

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