本文選題：當代水墨人物畫 + 色彩　； 參考：《上海師范大學》2017年碩士論文

【摘要】：中國美術的發(fā)展史中,“水墨”與“丹青”一直為傳統(tǒng)繪畫中的兩條脈絡,由于唐宋之后的文人畫的發(fā)展,往往使我們忽略了魏晉到隋唐一千多年重彩畫的歷史,也影響了重彩畫理論與實踐的研究。其中,尤其是文人畫追求“逸筆草草,聊寫胸中逸氣”的“超逸”境界,使傳統(tǒng)國畫的色彩運用陷入了長期停滯不前的發(fā)展困境。這種抵觸色彩表現(xiàn)的文化和觀念,使得中國古代繪畫對顏色的運用和挖掘受到抑制。至當代,隨著社會經濟的快速發(fā)展和國家的大力扶持,各類文化、藝術產業(yè)進入“百花齊放”、“百家爭鳴”的美好時代,中國畫也由原來獨享的行業(yè)審美轉入了應對普羅大眾需求的時代。所以,以“簡淡”、“蕭瑟”為主基調的文人畫因其審美的單一性恐怕無法全面滿足社會的相關需求。至此,被摒棄多時的中國畫色彩便有了可生存空間。本文首先簡要介紹當代水墨人物畫中色彩的發(fā)展與運用,由色彩的使用風格講起,通過舉例分析當代水墨人物畫色彩風格的形成和發(fā)展緣由,一是受到中國傳統(tǒng)主流繪畫的影響,二是中國民間繪畫的影響,三是西方繪畫的影響;其次結合筆者創(chuàng)作談水墨人物畫中色彩的探索,通過圖例分析來討論色彩的拓展,具體也從三個方面探討,先談論創(chuàng)作緣起,涉及到選題的目的和意義;然后再談創(chuàng)作過程,包括創(chuàng)作當中遇到的問題以及解決問題的思路,先分析畫面,再進行深度的思考;最后歸納出創(chuàng)作收獲。從而最終得出總結:當代水墨人物畫的色彩拓展還有很廣闊的空間,只有堅持不懈的嘗試,才會有更多的可能,創(chuàng)造出更多豐富多彩,精美絕倫的藝術作品。
[Abstract]:In the history of the development of Chinese art, "ink" and "Danqing" have always been two threads of traditional painting. Due to the development of literati paintings after the Tang and Song dynasties, we often ignore the history of heavy colored paintings from Wei and Jin dynasties to Sui and Tang dynasties for more than a thousand years.It also affects the study of the theory and practice of heavy color painting.Among them, especially the literati painting pursuit of "easy brush grass, talk about the spirit in the chest" "super Yi" realm, traditional Chinese painting color application into a long-term stagnation of development difficulties.This kind of culture and idea of resisting color expression, make Chinese ancient painting to use and excavate to color be restrained.To the present, with the rapid development of social economy and the support of the country, all kinds of cultural and artistic industries have entered a beautiful era of "a hundred flowers blossom" and "a hundred schools of thought contend".Chinese painting from the original exclusive industry aesthetic to meet the needs of the general public era.Therefore, the literati paintings with the basic tone of "simple and light" and "bleak" can not fully meet the needs of the society because of their aesthetic singularity.At this point, has been abandoned for a long time the color of Chinese painting will have a living space.This paper first briefly introduces the development and application of color in contemporary ink figure painting, from the use of color style, through an example to analyze the formation and development of contemporary ink figure painting color style.One is influenced by Chinese traditional mainstream painting, the other is the influence of Chinese folk painting, and the third is the influence of western painting. Secondly, the author discusses the exploration of color in the ink figure painting in combination with the author's creation, and discusses the development of color through legend analysis.It is also discussed from three aspects: the origin of creation, the purpose and significance of the topic, and then the process of creation, including the problems encountered in the creation and the way to solve the problems, the first analysis of the picture, then the deep thinking;Finally, the author concludes the creative harvest.In the end, we can conclude that there is still a broad space for the color expansion of contemporary ink figure painting. Only by persistent attempt, can we have more possibilities and create more colorful and exquisite works of art.
【學位授予單位】：上海師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212
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本文編號：1744457