本文選題：水彩意識(shí)　切入點(diǎn)：水彩學(xué)科意識(shí)　出處：《湖北美術(shù)學(xué)院》2014年碩士論文

【摘要】：本文旨在探討水彩意識(shí)、水彩學(xué)科意識(shí)的產(chǎn)生機(jī)制與作用,水彩意識(shí)是水彩創(chuàng)作行為的客觀反映,它又是水彩領(lǐng)域內(nèi)各種思潮、觀念、想法的載體,水彩意識(shí)具有影響繪畫者從事水彩創(chuàng)作的作用。除此之外,本文基于發(fā)生學(xué)的視角探討繪畫者在水彩意識(shí)的影響下,風(fēng)格獨(dú)特的個(gè)體水彩實(shí)踐充實(shí)和豐富了水彩意識(shí)的發(fā)展。本文由緒論、正文、結(jié)論三部分組成。1.緒論:第一章由問題確立、研究意義、寫作背景的描述和所使用的研究方法構(gòu)成,問題意識(shí)和跨學(xué)科方法始終圍繞水彩意識(shí)的探討而展開。2.正文:正文由第二章、第三章組成。2.1.第二章關(guān)于水彩意識(shí)的起源與作用。著重討論了水彩意識(shí)、水彩學(xué)科意識(shí)的概念和它們之間的區(qū)別,同時(shí)探究了水彩意識(shí)形成的歷史過程,在西方美術(shù)史上有許多技藝卓越的畫家都從事水彩畫創(chuàng)作。在這些擁有美術(shù)史崇高地位的大師中,雖然其主要的繪畫作品以油畫媒介完成,但這些繪畫巨匠一生之中的水彩實(shí)踐活動(dòng)贏得了世人的矚目,并以水彩媒介創(chuàng)作了大量傳世的精懫杰作。大師們從輕松靈動(dòng)的水彩畫實(shí)踐中所獲得的經(jīng)驗(yàn)與繪畫意識(shí),逐漸積累成對(duì)水彩創(chuàng)作相對(duì)固定的看法,由此,這將對(duì)從事水彩的人們產(chǎn)生深遠(yuǎn)影響。這是個(gè)人繪畫獨(dú)特風(fēng)格對(duì)水彩意識(shí)的影響。由于水彩媒介與其他畫種的材料不同,其繪畫的表現(xiàn)力在材料與技藝的演進(jìn)中別具特色,水彩媒介長(zhǎng)于創(chuàng)作者個(gè)人心靈自由的表達(dá)。靈動(dòng)、流暢、抒情的特點(diǎn)是水彩材料特性所形成,但尺幅不大、不易修改是水彩材料的局限。媒介的優(yōu)長(zhǎng)與局限,使創(chuàng)作者對(duì)社會(huì)公共性題材較少關(guān)注,長(zhǎng)此以往便形成一種既定的水彩觀念,這是本文就水彩學(xué)科意識(shí)的作用而展開討論的問題。基于文化的核心價(jià)值取決于社會(huì)公共性關(guān)切的認(rèn)識(shí)程度,因此就有大畫種與小畫種之別,由于畫種地位的區(qū)別在相當(dāng)程度上也固化了水彩創(chuàng)作的態(tài)度,因此,在很多水彩畫家看來水彩與輕松、愉悅的表達(dá)有著天然的聯(lián)系,其實(shí),這并不是水彩畫創(chuàng)作的全部。問題的關(guān)鍵是:如何把社會(huì)萬象納入到創(chuàng)作者的視野,個(gè)人趣味與社會(huì)公共關(guān)切相聯(lián)系,這是當(dāng)前水彩創(chuàng)作將要解決的問題,顯然,水彩技藝體系足以支撐多元文化價(jià)值的選擇。在高等美術(shù)院校水彩畫作為藝術(shù)學(xué)科中的一門專業(yè),其技藝傳承與藝術(shù)理論的完備性、創(chuàng)作意識(shí)的公共性和繪畫視野的拓展,與“小畫種”的水彩意識(shí)有著很大的不同。表現(xiàn)在水彩畫創(chuàng)作上已經(jīng)突破了個(gè)人意趣在選題上的局限,與時(shí)俱進(jìn)的文化選擇成為水彩創(chuàng)作的主流關(guān)切。于是,水彩的學(xué)科意識(shí)便應(yīng)時(shí)而生,這主要體現(xiàn)為水彩學(xué)科更加規(guī)范,教學(xué)體系更為寬廣,從而促使水彩畫創(chuàng)作以富有創(chuàng)新的姿態(tài)而表現(xiàn)出多樣化的風(fēng)格。在如此完備的水彩學(xué)科體系下,一批批受此教育的從藝者踐行著水彩創(chuàng)作,從而奠定了水彩學(xué)科意識(shí)的豐富性、多樣性。同時(shí),本文就水彩意識(shí)與水彩創(chuàng)作相生相伴以及個(gè)人和本土文化對(duì)水彩意識(shí)的影響作了進(jìn)一步的闡述。水彩畫作為外來的畫種,十九世紀(jì)進(jìn)入中國(guó)的畫壇,其先驅(qū)者李叔同在《水彩畫法說略》中說:“西洋畫法凡十?dāng)?shù)種,與我國(guó)舊畫法稍近者,唯水彩畫�！边@是因?yàn)樗逝c水墨都以水為媒介、以紙為材料而進(jìn)行創(chuàng)作,這是相似之處。而水彩畫的輕靈與豐富變化是以光影、體塊為基礎(chǔ),以現(xiàn)場(chǎng)寫生為前提,顯然,這與中國(guó)水墨和中國(guó)文人追求的“逸筆草草,不求形似”,“詩中有畫,畫中有詩”的創(chuàng)作路徑大相徑庭。由此,中國(guó)傳統(tǒng)繪畫的變革者頗為樂意汲取外來水彩的長(zhǎng)處,從而進(jìn)一步增添了水墨畫的表現(xiàn)性,正因?yàn)樗逝c水墨在中國(guó)交匯相融,才使其更具親和力。2.2.第三章水彩意識(shí)對(duì)個(gè)人的影響。該章分別闡述了多樣性和創(chuàng)新性在水彩意識(shí)與水彩學(xué)科意識(shí)中的角色地位;用個(gè)案分析的方法舉例說明了水彩意識(shí)因應(yīng)時(shí)代變化的作用;最后討論分析了水彩意識(shí)對(duì)本人創(chuàng)作的影響。3.結(jié)論。在結(jié)論中本文認(rèn)為:水彩意識(shí)雖然是一種抽象的定義和理解,但人們創(chuàng)作水彩畫須臾離不開水彩意識(shí)和水彩學(xué)科意識(shí)的參與和指導(dǎo)。本文還認(rèn)為水彩意識(shí)不是某種慣性思維,它是發(fā)展、變化著的思想容器。全文通過個(gè)案分析,觀念闡述、問題討論等方面探究了畫家終其一生的水彩實(shí)踐,在其創(chuàng)作過程中既接受著水彩意識(shí)的影響,又從無數(shù)次水彩實(shí)踐成果中豐富與發(fā)展了水彩意識(shí)。
[Abstract]:This paper aims to explore the mechanism and effect of consciousness of watercolor, watercolor subject consciousness, consciousness is the objective reflection of watercolor watercolor creation behavior, it is various kinds of thoughts in the field of watercolor, concepts, ideas of the carrier, has the effect of watercolor painting in watercolor awareness. In addition, this paper based on the perspective of learning painting the influence of watercolor consciousness, unique style of individual watercolor practice enrich the development of watercolor consciousness. This paper consists of introduction, text, conclusion of three parts: the first chapter is introduction.1. established, research significance, constitute the writing background description and research method, investigate the problem consciousness and interdisciplinary methods always focus on consciousness and expand watercolor.2. text: the text consists of second chapters, third chapters and second chapters about the origin of.2.1. is discussed. The consciousness of watercolor watercolor consciousness, water The color difference between concepts and their subject consciousness, and explores the historical process of watercolor consciousness, in the western history of art has many outstanding artists in the art of watercolor painting in art history. These have the lofty status of the masters, although the main painting in oil painting medium, but a lifetime watercolor practice these masters won the attention of the world, and the color media created a large number of fine Zhi handed down masterpiece. Experience and consciousness of painting masters from the watercolor painting practice easily smart in the gradual accumulation of pairs of watercolor, which is relatively fixed, which will have a profound impact on people engaged in watercolor the influence of personal painting. This is the unique style of watercolor watercolor consciousness. Because of media and other kinds of painting materials, the painting expressive force in the evolution of materials and technology Distinctive, expression of watercolor media creators. The personal freedom is longer than the smart, smooth, lyrical characteristics are formed by the watercolor material properties, but the size is not big, not easy to modify the watercolor material limitations. Media advantages and limitations, the creators of social public subjects less attention, if things go on like this is a a set of watercolor concept, this is the role of watercolor discipline awareness and discuss problems. Based on the core value of cultural awareness in social public concern, so there is a big picture and little painting of the other, because of the difference between the position of the painting to a considerable extent, the curing of watercolor creation the attitude, therefore, in a lot of watercolor and watercolor painter looks relaxed, joyful expression has a natural link, in fact, this is not the creation of watercolor painting of all. The key question is: how to put into a social Vientiane The author's view, the personal interest and the social public concern associated with this is to solve the current problem of watercolor, watercolor art system obviously, enough to support multicultural values. In Institutions of higher art watercolor painting as a professional art discipline in the art of completeness of its inheritance and development creation theory of art. Awareness of the public and the painting field, is very different from a "small painting of" watercolor consciousness. Performance has exceeded the limitation of personal interest in the topic of watercolor creation, advancing cultural selection into the mainstream for watercolor concern. So, watercolor subject consciousness should sometimes. This is mainly reflected in the discipline of Watercolor Teaching system more standardized, more broad, which prompted the creation of watercolor painting with creative attitude and exhibit diverse style. In the water color so that the complete body discipline System, a group of artists by the education practice of watercolor creation, which laid the foundation of the richness, diversity of watercolor subject consciousness. At the same time, the watercolor watercolor creation consciousness and the concomitant effects and personal and local culture of watercolor consciousness has explained further. As a foreign painting watercolor painting in nineteenth Century, China painting, the pioneer Li Shutong in "watercolors said slightly > said:" Western painting Fafan dozens, and the old painting in China a bit close, only watercolor. "This is because the watercolor and ink with water as a medium, the paper as the material for the creation, this is similarities. The watercolor painting brisk and rich change is a light, block based on the sketch on the scene as the premise, and obviously, this China ink and China literati's pursuit of" leisurely pen, not for the shape "," Painting-in-poetry, a poem "painting in the creation of the road Be quite different size. Thus, China traditional painting changes are quite happy to learn foreign watercolor strengths, which further increases the performance of the ink painting, watercolor and ink in Chinese because the connection melts, and that the effect of affinity.2.2. third chapter watercolor awareness of personal. This chapter describes the role of diversity and the innovative consciousness and subject consciousness in watercolor watercolor in the method of case analysis; examples of the watercolor consciousness with the times change; finally discusses the impact of the creation of watercolor consciousness I.3. conclusion. In the conclusion of this paper argues that: Although consciousness is watercolor definition and understanding of an abstract, but people the creation of watercolor painting in watercolor watercolor cannot do without consciousness and discipline consciousness participation and guidance. This paper also thinks that consciousness is not a watercolor of thinking, it is the development of changing ideas The full text explores the painter's lifelong practice of watercolor practice through case analysis, concept elaboration and question discussion. In the process of creation, it not only accepts the influence of watercolor consciousness, but also enriches and develops watercolor consciousness from numerous watercolor practice results.

【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J215
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本文編號(hào)：1726096