發(fā)布時(shí)間：2018-04-13 03:06

  本文選題：筆墨程式 + 師法自然�。� 參考：《中國(guó)美術(shù)學(xué)院》2013年碩士論文

【摘要】：本文通過(guò)對(duì)中國(guó)畫(huà)山水程式在造境時(shí)的具體應(yīng)用,來(lái)進(jìn)一步探求在規(guī)范完整的程式體系下,尋找繪畫(huà)形象的擴(kuò)展與繪畫(huà)符號(hào)語(yǔ)言的充實(shí)性的問(wèn)題,目的是尋找在當(dāng)今水墨畫(huà)的發(fā)展中造型語(yǔ)言的多種可能性,避免對(duì)程式的固定思維模式來(lái)禁錮畫(huà)者真性情的表現(xiàn),在師造化的過(guò)程中不斷的尋找新的營(yíng)養(yǎng)。中國(guó)山水畫(huà)的形成過(guò)程的一個(gè)很大特征是對(duì)程式的規(guī)范掌握與應(yīng)用,形成了一系列的理法,山水意境的營(yíng)造,是一個(gè)藝術(shù)家對(duì)自我心理過(guò)程真切體驗(yàn)的結(jié)果,人們將自己的想象轉(zhuǎn)化成具體藝術(shù)形象時(shí),是一種從感知到理知的過(guò)程,在這個(gè)過(guò)程中組成畫(huà)面的符號(hào)語(yǔ)言和程式形成了所謂的“山水風(fēng)格”中國(guó)畫(huà)的程式發(fā)展是在不斷的補(bǔ)充,增益的過(guò)程中完善的。 中國(guó)畫(huà)發(fā)展到現(xiàn)在,筆墨程式已經(jīng)發(fā)展的相對(duì)完善,由于環(huán)境的限制,畫(huà)家怎樣在有限的環(huán)境中避免繪畫(huà)創(chuàng)作的保守和停滯不前,缺失師法自然在筆墨與物象中的橋梁作用是應(yīng)該引起我們思考的問(wèn)題,寫(xiě)生是我們?cè)趯W(xué)習(xí)傳統(tǒng)山水畫(huà)的過(guò)程中得以獲取新繪畫(huà)語(yǔ)言的途徑之一,在這過(guò)程里尋求新的營(yíng)養(yǎng),從而尋求在繪畫(huà)創(chuàng)作中的多種可能性。
[Abstract]:Through the concrete application of landscape formula in Chinese painting, this paper further explores the expansion of the painting image and the enrichment of the symbolic language of painting under the standard and complete program system.The purpose is to find a variety of possibilities of modeling language in the development of ink and wash painting, to avoid the expression of the true temperament of the artist by the fixed thinking mode of the program, and to constantly seek new nutrition in the process of teacher's creation.A great feature of the forming process of Chinese landscape painting is the standard mastery and application of the program, which forms a series of rational methods. The creation of landscape artistic conception is the result of an artist's true experience of the self-psychological process.When people transform their imagination into concrete artistic images, it is a process from perception to reason.In this process, the symbolic language and program that make up the picture form the so-called "landscape style" Chinese painting program.With the development of traditional Chinese painting, the stroke and ink program has developed relatively well. Due to the limitations of the environment, how do painters avoid the conservatism and stagnation of painting creation in a limited environment?The lack of the bridge between ink and ink is a problem that we should think about. Sketching is one of the ways for us to acquire new painting language in the process of studying traditional landscape painting. In this process, we seek new nutrition.In order to seek a variety of possibilities in painting creation.
【學(xué)位授予單位】：中國(guó)美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

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