本文選題：符號(hào) + 水墨��； 參考：《天津師范大學(xué)》2015年碩士論文

【摘要】：水墨是傳統(tǒng)繪畫的根本元素,也是中國(guó)水墨畫的基礎(chǔ)造型方法,然而構(gòu)成水墨畫的基本單元是“點(diǎn),線,面”的造型符號(hào),這些符號(hào)不單是對(duì)現(xiàn)實(shí)物象的描摹,也詮釋著人與物象若即若離的關(guān)系。當(dāng)下我們?cè)谒囆g(shù)創(chuàng)作實(shí)踐中摸索出來的符號(hào)語言成為我們繼承拓展古代畫家法則的新領(lǐng)域。水墨符號(hào)作為山水畫中最主要的表現(xiàn)藝術(shù)形式,它是承載畫家內(nèi)心思想的載體、媒介,通過符號(hào)語言藝術(shù)家得以抒發(fā)自我情懷、反映時(shí)代特征。所以,不同的時(shí)代、不同的社會(huì)環(huán)境都必然出現(xiàn)不同的符號(hào)語言。畫家們?cè)诶^承了現(xiàn)有山水畫水墨符號(hào)的基礎(chǔ)上,不斷從生活中抽取物態(tài)的本質(zhì)特征,把具象的形態(tài)轉(zhuǎn)變?yōu)樗?hào),筆墨生動(dòng),這些都是畫家對(duì)大自然審美的情感表露。個(gè)性符號(hào)的表達(dá)需要借助藝術(shù)家們意筆心畫的創(chuàng)作情感,追求神似高于形似,既凸顯張揚(yáng),又淡漠隱藏。因此,僅從傳統(tǒng)水墨符號(hào)中汲取營(yíng)養(yǎng)遠(yuǎn)遠(yuǎn)不夠,對(duì)傳統(tǒng)繪畫水墨符號(hào)的了解,再加上現(xiàn)代水墨基礎(chǔ)手法,從大自然尋找新的水墨符號(hào),新的生活和物質(zhì),向我們提供了具有符號(hào)來源的暗示,也為我們尋找新符號(hào)找到了精神支撐,這才是山水畫創(chuàng)作的衍生發(fā)展。中國(guó)傳統(tǒng)的水墨畫家對(duì)水墨畫的藝術(shù)符號(hào)的表現(xiàn)要求是“似與不似”,藝術(shù)家熱衷于體現(xiàn)物象與藝術(shù)作品的抽取異化發(fā)散式韻味,注重表現(xiàn)的藝術(shù)符號(hào)與物象既有寫實(shí)又不能全寫實(shí)的“似與不似”的審美觀念。現(xiàn)代山水畫家在繼承可傳統(tǒng)山水畫本有的符號(hào)語言的基礎(chǔ)上,堅(jiān)持不懈的從生活,自然中提煉事物的形態(tài),把客觀存在的物象轉(zhuǎn)化為具體的藝術(shù)符號(hào),美作為人類對(duì)物態(tài)本身一種情感反應(yīng),水墨符號(hào)正是藝術(shù)家對(duì)物象的直觀情感體現(xiàn),中國(guó)水墨藝術(shù)作為遠(yuǎn)古的藝術(shù)抽象符號(hào)一直影響著我們的審美情趣,在現(xiàn)代社會(huì)的影響之下,放手水墨符號(hào)表現(xiàn)形式,給予它一個(gè)更大的發(fā)展空間,將水墨符號(hào)語言的表現(xiàn)能力世界化,讓感性和理性的符號(hào)語匯更好的表現(xiàn)出它的魅力。
[Abstract]:Ink and wash is the basic element of traditional painting and the basic modeling method of Chinese ink painting. However, the basic unit of ink painting is the "dot, line, and surface" sculpt symbol, which is not only a description of the reality. It also interprets the relationship between human beings and objects. At present, the symbolic language that we explore in the practice of artistic creation has become a new field for us to inherit and expand the rules of ancient painters. As the most important artistic form in landscape painting, ink and wash symbol is the carrier of the painter's inner thought, and the medium, through which the artist can express his feelings and reflect the characteristics of the times. Therefore, different times and different social environment are bound to appear different symbolic language. On the basis of inheriting the existing landscape painting and ink symbols, the painters continue to extract the essential features of the physical state from the life, and transform the concrete form into the ink and wash symbols, which are all the painters' emotional expression of the aesthetic appreciation of nature. The expression of personality symbol needs to use the creative emotion of the artist's paintbrush and heart painting to pursue the likeness higher than the likeness, which not only highlights publicity, but also is indifferent to concealment. Therefore, it is far from enough to absorb nutrients from traditional ink and wash symbols. The understanding of traditional painting ink symbols, coupled with the basic techniques of modern ink and wash, seeks new ink symbols, new lives and materials from nature. It provides us with the hint of symbol source and finds spiritual support for us to find new symbols, which is the derivative development of landscape painting creation. The traditional Chinese ink and wash painters demand "likeness and non-resemblance" for their artistic symbols, and the artists are keen to embody the dissimilation and divergent charm of the extraction of objects and works of art. The aesthetic concept of "likeness and non-iconicity", which pays attention to the artistic symbols and images of expression, is both realistic and not fully realistic. On the basis of inheriting the original symbolic language of traditional landscape painting, modern landscape painters unremittingly refine the form of things from life and nature, and transform the objective existing objects into concrete artistic symbols. Beauty is an emotional reaction of human beings to the physical state itself, and the ink and wash symbols are the direct emotional embodiment of the artist's image. Chinese ink painting art, as an abstract symbol of ancient art, has always influenced our aesthetic interest. Under the influence of modern society, let go of the expression form of ink and wash symbol, give it a greater space for development, make the expressive ability of ink and wash symbol language cosmopolitan, let the perceptual and rational symbolic vocabulary better show its charm.
【學(xué)位授予單位】：天津師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J212

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本文編號(hào)：1825030