本文選題：水彩畫 + 概念��； 參考：《東北師范大學(xué)》2013年碩士論文

【摘要】：水彩畫的發(fā)展具有悠久的歷史，傳入我國(guó)后得到了飛躍性的發(fā)展。它以自己獨(dú)特的畫面效果而得到了畫家們和觀者們的喜愛。水性的靈動(dòng)，色彩的絢麗和繽紛，輕松并富有靈性的繪畫方式，這些都深深地吸引著人們的視線，水彩畫在中國(guó)，現(xiàn)如今已經(jīng)成為中國(guó)繪畫領(lǐng)域的一個(gè)重要的組成部分，并且在藝術(shù)界越來越得到重視，占有著一定的重要?dú)v史地位。水彩畫是“以水調(diào)和顏料所作之畫”。這種藝術(shù)形式的出現(xiàn)，從某種層面上來說，人們對(duì)什么是水彩畫，以及水彩畫的一些相關(guān)概念已經(jīng)形成了一些比較固定和概念的看法。也形成了一些對(duì)待水彩畫的慣性思維。水彩畫這個(gè)新興的畫種，要想在中國(guó)這片熱土得到更加深遠(yuǎn)的發(fā)展，，使水彩畫能夠在中國(guó)的地域、文化背景下繼續(xù)發(fā)揚(yáng)光大，僅僅憑借著在水彩技法上的創(chuàng)新是遠(yuǎn)遠(yuǎn)不夠的。而要在對(duì)水彩畫的更深層次上的認(rèn)識(shí)做進(jìn)一步的理論研究。通過理論和實(shí)踐相結(jié)合，使水彩畫在中國(guó)得到更好的繼承與發(fā)展。本文第一章主要介紹水彩畫的起源與發(fā)展，分別闡述各個(gè)地區(qū)水彩畫的發(fā)展?fàn)顩r。并通過不同的文化、地域背景對(duì)中外水彩畫的差異做了簡(jiǎn)單的比較。第二章主要闡述了水彩畫相關(guān)概念，分別從“水”的概念“彩”的概念以及“畫”的概念三個(gè)不同方向?qū)λ十嬤M(jìn)行系統(tǒng)的分析，通過水和彩的相互作用和聯(lián)系，以及作為繪畫的相關(guān)概念得出中國(guó)水彩畫的新的意義。第三章主要闡述了中國(guó)水彩畫作為外來畫種，如何能夠在中國(guó)得到更好的發(fā)展。
[Abstract]:The development of watercolor painting has a long history and has been developed by leaps and bounds after it was introduced into China.It has been loved by painters and viewers for its unique picture effects.Water-based ingenuity, brilliant colors and colorful, relaxed and spiritual ways of painting are all deeply attracting people's attention. Watercolor painting in China has now become an important part of the Chinese painting field.And in the art world more and more attention, occupies a certain historical position.Watercolor painting is a painting made with water and paint.The appearance of this kind of art form, from a certain level, people have formed some relatively fixed and conceptual views on what is watercolor painting, and some related concepts of watercolor painting.Has also formed some treatment watercolor painting inertia thought.Watercolor painting, as a new kind of painting, wants to get a more profound development in this hot land of China, so that watercolor painting can continue to develop in China's region and cultural background, only relying on the innovation of watercolor techniques is far from enough.And should do further theoretical research on the deeper understanding of watercolor painting.Through the combination of theory and practice, watercolor painting in China gets better inheritance and development.The first chapter mainly introduces the origin and development of watercolor painting.And through different cultures, regional background to the difference between Chinese and foreign watercolor painting made a simple comparison.The second chapter mainly elaborated the watercolor painting related concept, separately from "the water" concept "color" concept and "the painting" concept three different direction carries on the systematic analysis to the watercolor painting, through the water and the color interaction and the connection,As well as as painting related concepts to draw the new significance of Chinese watercolor painting.The third chapter mainly expounds the Chinese watercolor painting as a foreign painting, how to get a better development in China.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J215

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 肖黎;;水彩的中國(guó)化及其藝術(shù)審美表現(xiàn)[J];大舞臺(tái);2010年05期

2 聞斌;;水彩畫家藝術(shù)風(fēng)格的形成[J];文藝研究;2008年06期

本文編號(hào)：1773141