發(fā)布時(shí)間：2018-05-08 01:15

  本文選題：油畫 + 漆畫�。� 參考：《福州大學(xué)》2014年碩士論文

【摘要】：藝術(shù)多元化的今天油畫與其它畫種之間的界限越來(lái)越模糊,油畫的創(chuàng)作也不僅僅局限在古典主義、印象主義的世界里。采用新材質(zhì)、新繪畫技法、新做畫工具及大膽的借鑒其他畫種技法,在無(wú)形中拓寬了油畫創(chuàng)作之路和油畫的審美范圍。油畫創(chuàng)作中,材料語(yǔ)言的運(yùn)用被推向重要的位置上,綜合材料在油畫創(chuàng)作中的運(yùn)用成為一個(gè)有益的嘗試。本次畢業(yè)創(chuàng)作通過對(duì)漆畫貼、撒類綜合材料的研究結(jié)合創(chuàng)作實(shí)踐,探討漆畫技法材料在油畫創(chuàng)作中的運(yùn)用。對(duì)漆畫綜合材料在油畫創(chuàng)作中的運(yùn)用進(jìn)行探索,賦予油畫創(chuàng)作新的活力。本文分為五個(gè)章節(jié)：第一章引言通過對(duì)油畫綜合材料介紹以及二十世紀(jì)初將綜合材料運(yùn)用到油畫創(chuàng)作中的代表性畫家介紹,讓我們對(duì)油畫綜合材料有一個(gè)更深層次的認(rèn)識(shí)與理解。說(shuō)明將漆畫綜合材料運(yùn)用到油畫創(chuàng)作中有一定的現(xiàn)實(shí)意義。第二章漆畫創(chuàng)作中貼、撒類材料的運(yùn)用,本章主要介紹漆畫創(chuàng)作中常用的貼、撒類材料,結(jié)合列舉漆畫家的漆畫作品,讓人對(duì)漆畫材料有一個(gè)更深的認(rèn)識(shí)。第三章漆畫材料在油畫創(chuàng)作中的運(yùn)用意義,本章通過介紹將綜合材料運(yùn)用到繪畫創(chuàng)作中的朱進(jìn)、張?jiān)獛孜凰囆g(shù)家的作品。說(shuō)明漆畫材料運(yùn)用到油畫創(chuàng)作中的意義。第四章油畫創(chuàng)作過程解析,本次創(chuàng)作以風(fēng)景題材為主,通過創(chuàng)作將綜合材料運(yùn)用到實(shí)踐中,創(chuàng)作分為三個(gè)系列,第一個(gè)系列以漁船為題材,表達(dá)了勤勞勇敢的漁村人民不畏艱辛,為自己的生活努力的奮斗,他們正昂首闊步僅僅跟隨著時(shí)代的腳步在前進(jìn)。第二個(gè)系列以江南水鄉(xiāng)為題材,所表現(xiàn)的水鄉(xiāng)場(chǎng)景與現(xiàn)代都市車水馬龍快節(jié)奏的場(chǎng)景形成鮮明的對(duì)比,使人忘記喧囂,讓內(nèi)心與自然接觸平靜下來(lái)。第三個(gè)系列以“花中四君子”的梅花、蘭花、菊花為題材。梅花,蘭花,菊花是常見的詠物詩(shī)和文人畫題材,寓意自強(qiáng)不息,清華其外,澹泊其中,不作媚世之態(tài)。用綜合材料的手法來(lái)梅、蘭、菊題材將傳統(tǒng)元素以另一種形式展示給觀眾,使人引起聯(lián)想。第五章總結(jié),這次創(chuàng)作讓我對(duì)貼、撒類材料有了一個(gè)更深層次的認(rèn)識(shí),或許有很多細(xì)節(jié)還做不到位,但是通過這次創(chuàng)作讓我明白對(duì)于材料的開發(fā)利用是無(wú)止境的,主要是繪畫創(chuàng)作者如何利用。
[Abstract]:Nowadays, the boundary between oil painting and other paintings is more and more blurred, and the creation of oil painting is not confined to the world of classicism and impressionism. By adopting new materials, new painting techniques, new painting tools and bold drawing techniques, the way of oil painting creation and the aesthetic range of oil paintings have been widened in the form of intangibility. In oil painting, the use of material language is pushed to an important position, the application of comprehensive materials in oil painting has become a useful attempt. Through the research of lacquer painting paste and comprehensive materials, this paper discusses the application of lacquer painting technique material in oil painting creation. This paper explores the application of lacquer painting comprehensive materials in oil painting creation and gives new vitality to oil painting creation. This paper is divided into five chapters: the first chapter introduces the comprehensive materials of oil painting and the representative painters who applied the comprehensive materials to the oil paintings at the beginning of the 20th century. Let us have a deeper understanding and understanding of the comprehensive materials of oil painting. It is of practical significance to apply the comprehensive materials of lacquer painting to oil painting creation. The second chapter is about the application of lacquer painting materials in lacquer painting creation. This chapter mainly introduces the commonly used paste and scatter materials in lacquer painting creation, combined with the lacquer painting works of enumerating lacquer artists, so that people have a deeper understanding of lacquer painting materials. The third chapter is about the application of lacquer painting materials in oil painting. This chapter introduces the works of Zhu Jin and Zhang Yuan. Explain the significance of the application of lacquer painting materials to oil painting. The fourth chapter analyzes the process of oil painting creation. This creation is mainly about landscape, through which the comprehensive materials are applied to practice. The creation is divided into three series. The first series takes fishing boats as the subject matter. The hard-working and brave people of the fishing village do not fear the hardships and strive hard for their own life. They are just marching forward with the pace of the times. The second series takes the Jiangnan water village as the subject matter, the performance of the water countryside scene and the modern city traffic fast rhythm scene form the sharp contrast, causes the person to forget the noise, lets the heart and the nature contact calm down. The third series is about plum blossom, orchid and chrysanthemum. Plum blossom, orchid, chrysanthemum are the common theme of chanting poems and literati paintings. Using comprehensive materials to Mei, Lan, Ju theme to show traditional elements to the audience in another form, making people think. The fifth chapter summarizes that this creation has given me a deeper understanding of the paste and scatter materials. There may be a lot of details that are not in place, but through this creation I understand that there is no end to the development and utilization of materials. It is mainly how to use painting creators.
【學(xué)位授予單位】：福州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 師聰;新型材料在當(dāng)代中國(guó)漆畫中的運(yùn)用研究[D];蘇州大學(xué);2009年

2 張莉;漆畫的“漆性”與“畫意”[D];蘇州大學(xué);2008年

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本文編號(hào)：1859304