發(fā)布時(shí)間：2018-05-05 12:35

  本文選題：軟材料 + 綜合繪畫(huà)�。� 參考：《四川美術(shù)學(xué)院》2017年碩士論文

【摘要】：綜合繪畫(huà)在國(guó)際藝術(shù)大展中已經(jīng)屢見(jiàn)不鮮,打破了傳統(tǒng)藝術(shù)意義上的創(chuàng)作規(guī)范。對(duì)材料本身的探索,說(shuō)明人們的視覺(jué)經(jīng)驗(yàn)、視覺(jué)感受以及審美意識(shí)不斷的在發(fā)生變化,這也是作者和觀者追求表現(xiàn)深度和精神向度的必然產(chǎn)物。筆者在對(duì)綜合繪畫(huà)相關(guān)的文獻(xiàn)進(jìn)行整理后,發(fā)現(xiàn)比較多的相關(guān)文章是在某一個(gè)章節(jié)談及創(chuàng)作材料中軟、硬材料的對(duì)撞,把軟材料作為綜合繪畫(huà)中一種重要的語(yǔ)言進(jìn)行深入探討的書(shū)籍和文章相對(duì)較少,所以這是筆者認(rèn)為值得去研究和討論的方向。本文從對(duì)綜合繪畫(huà)中軟材料語(yǔ)言的研究出發(fā),引起對(duì)軟材料的關(guān)注,繼而從軟材料角度看綜合繪畫(huà)的發(fā)展,對(duì)其理論整理和實(shí)例分析,為創(chuàng)作者提供一個(gè)依據(jù)和平臺(tái)。另外有必要強(qiáng)調(diào)的是,在綜合繪畫(huà)中討論軟材料,主要是把時(shí)間放在現(xiàn)代藝術(shù)中去討論,著重點(diǎn)不在傳統(tǒng)繪畫(huà)的創(chuàng)作工具、創(chuàng)作材料和創(chuàng)作表達(dá)方式上。否則,把油畫(huà)中的傳統(tǒng)媒介、國(guó)畫(huà)中的傳統(tǒng)媒介又或者是素描作品中的色粉都提出來(lái)談,那這個(gè)研究就是一個(gè)悖論了。國(guó)內(nèi)在綜合繪畫(huà)中軟材料的運(yùn)用非常廣泛,一批藝術(shù)家尚揚(yáng)、梁銓、管策、徐累等等的藝術(shù)家,都在自己的作品中進(jìn)行綜合實(shí)驗(yàn),創(chuàng)作出了優(yōu)秀的作品。但與國(guó)外相比,軟材料在國(guó)內(nèi)綜合繪畫(huà)中的運(yùn)用還缺乏多元化的模式、前衛(wèi)性的探索,軟材料分類(lèi)過(guò)于龐雜,軟材料的研究與整理還不夠深入,展覽作品也存在著當(dāng)代性的問(wèn)題,在短暫的視覺(jué)沖擊之后,作品和作者的當(dāng)下生活有什么樣的關(guān)系,是否被材料或材料的形勢(shì)所吞噬,這也是該意識(shí)和反思的問(wèn)題。如今的藝術(shù)創(chuàng)作在向著各藝術(shù)門(mén)類(lèi)的交叉融合中發(fā)展,各藝術(shù)門(mén)類(lèi)都逃不開(kāi)討論和探索材料的運(yùn)用,綜合繪畫(huà)也不例外。軟材料在綜合繪畫(huà)創(chuàng)作中的使用非常廣泛,通過(guò)對(duì)綜合繪畫(huà)中軟材料語(yǔ)言的分析,不同的軟材料具備不同的形態(tài)、色澤、質(zhì)感和獨(dú)特的語(yǔ)言魅力,在這種情況下,就要求作者深入接觸、感受、理解軟材料,而后進(jìn)行選擇和運(yùn)用,結(jié)合自己本土的經(jīng)驗(yàn)、自身情感出發(fā),脫離簡(jiǎn)單的“制作”或者一味模仿他人的階段。各大高校的材料課,讓同學(xué)們有了機(jī)會(huì)體驗(yàn)圍繞材料展開(kāi)的創(chuàng)作。創(chuàng)作應(yīng)該在深入了解中國(guó)本土藝術(shù)的發(fā)展之后進(jìn)行中西結(jié)合,跳出自己專(zhuān)業(yè)的束縛,尋找合適自身的材料,進(jìn)行可行性實(shí)驗(yàn),充分發(fā)揮想象力,以開(kāi)放的心態(tài)從外部的事物中吸取靈感,通過(guò)實(shí)驗(yàn)去體驗(yàn)軟材料的可能性。社會(huì)和科技仍在不斷進(jìn)步,會(huì)有更多豐富的軟材料涌現(xiàn)出來(lái)成為藝術(shù)家藝術(shù)創(chuàng)作中的媒介。通過(guò)不斷的嘗試、積累經(jīng)驗(yàn),我們依舊可以看到軟材料在綜合繪畫(huà)中發(fā)展的美好前景。我相信,綜合繪畫(huà)會(huì)更具有表現(xiàn)力,內(nèi)容更加多彩,讓藝術(shù)的形式以及藝術(shù)家對(duì)綜合繪畫(huà)的觀念真正達(dá)到平衡。
[Abstract]:Comprehensive painting has been common in the international art exhibition, breaking the traditional artistic sense of creative norms. The exploration of the material itself shows that people's visual experience, visual feeling and aesthetic consciousness are constantly changing, which is also the inevitable outcome of the author and the viewer in pursuing the depth of expression and spiritual orientation. After sorting out the literature related to comprehensive painting, the author found that more and more related articles talked about the collision of soft and hard materials in a certain chapter. There are relatively few books and articles on soft materials as an important language in comprehensive painting, so this is the direction that the author thinks is worth studying and discussing. Based on the study of the language of soft materials in comprehensive painting, this paper pays attention to soft materials, then looks at the development of comprehensive painting from the perspective of soft materials, and analyses its theory and examples, which provides a basis and platform for the creators. In addition, it is necessary to emphasize that the discussion of soft materials in comprehensive painting mainly focuses on the modern art, focusing on the creative tools, creative materials and creative expression of traditional painting. Otherwise, it is a paradox to talk about the traditional medium in oil painting, the traditional medium in traditional Chinese painting or the color powder in sketch works. The application of soft materials in comprehensive painting is very extensive. A group of artists, such as Shang Yang, Liang Quan, Guan Shu, Xu Lei and so on, have conducted comprehensive experiments in their own works and created excellent works. But compared with foreign countries, the use of soft materials in domestic comprehensive painting is still lack of diversified mode, avant-garde exploration, soft materials classification is too complex, soft materials research and collation is not deep enough, After a brief visual shock, the relationship between the work and the author's current life, whether or not it is swallowed by the material or the situation of the material, is also a question of consciousness and reflection. Nowadays, the art creation is developing towards the cross fusion of all kinds of art, all kinds of art can not escape the discussion and explore the use of materials, comprehensive painting is no exception. Soft materials are widely used in comprehensive painting creation. By analyzing the language of soft materials in comprehensive painting, different soft materials have different forms, color, texture and unique language charm, in this case, It requires the author to contact, feel and understand the soft material deeply, then choose and use it, combine his own experience and emotion, break away from the stage of simple "making" or blindly imitating others. The material classes in major colleges and universities give students the opportunity to experience the creation of materials. After deeply understanding the development of Chinese native art, creative works should combine Chinese and Western, jump out of their own professional constraints, find suitable materials for themselves, conduct feasibility experiments, and give full play to their imagination. Take inspiration from outside with an open mind and experience the possibilities of soft materials through experiments. Society and technology are still advancing, and more and more soft materials will emerge as a medium for artists' artistic creation. Through constant attempts and accumulated experience, we can still see the bright prospect of soft materials in the development of comprehensive painting. I believe that comprehensive painting will be more expressive, more colorful, so that the art of form and the artist's concept of comprehensive painting to achieve a real balance.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 沐曉熔;;第十二屆全國(guó)美展綜合材料繪畫(huà)作品綜述[J];云南藝術(shù)學(xué)院學(xué)報(bào);2015年03期

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本文編號(hào)：1847714