本文選題：水彩人物畫 + 西藏　； 參考：《西安美術學院》2017年碩士論文

【摘要】：水彩畫屬于舶來品,傳入我國已經(jīng)有百余年歷史。1999年,中國第九屆全國美術作品展中,將水彩畫與國畫、油畫并列成為第三大畫種予以獨立展覽,這一標志性事件使得水彩畫在“名分”上擺脫了“小畫種”的歷史局面。值得注意的是,二十余年來,我國水彩人物畫的快速發(fā)展為水彩畫地位提升做出了不少貢獻。在發(fā)展中,水彩人物畫靈活吸收中國畫和油畫的現(xiàn)實主義經(jīng)驗及表現(xiàn)技巧,在題材上也獲得多元化發(fā)展,尤其是少數(shù)民族題材日益得到業(yè)界和社會關注,已成為我國水彩人物畫的重要組成部分。在現(xiàn)當代美術格局中,西藏題材一直飽受青睞,除了文藝政策的導引之外,西藏獨具特色的自然環(huán)境,人文歷史、風土人情、宗教信仰等都是吸引和調(diào)動藝術家創(chuàng)作欲的重要元素。作為后起之秀的水彩畫種,自然也不例外。本文對西藏題材人物水彩畫的探討,旨在建立于西藏題材繪畫的深厚基礎之上,梳理該類題材水彩人物畫發(fā)展的基本脈絡、藝術特征及其與西藏自然環(huán)境和人文特征的內(nèi)在聯(lián)系。故而,本文采用了文獻閱讀法、圖像分析法、比較研究等方法,搜集大量資料,在縱向上梳理出西藏少數(shù)民族題材水彩人物畫的發(fā)展脈絡以及不同階段所取得的藝術成就。在橫向上與西方水彩人物畫進行對比,總結出藏族題材水彩人物畫的特點、藝術高度以及自己創(chuàng)作中的心得體會。為了能有更多的理論對藏族水彩人物畫題材創(chuàng)作有進一步的指導作用,創(chuàng)作出更優(yōu)秀的作品。促進藏族與其他民族文化交流、增進民族之間的認同、融合和凝聚力。本文力圖起到一個拋磚引玉的作用,希冀此類題材能夠引起更多畫者和美術理論研究者的關注,從而不斷壯大水彩人物畫理論研究的人才隊伍,進一步提高藏民水彩畫人物理論,對今后的西藏少數(shù)民族題材水彩人物畫創(chuàng)作有所幫助,促使西藏少數(shù)族水彩畫人物創(chuàng)作得到全面提升。
[Abstract]:Watercolor painting belongs to foreign goods. It has been introduced into China for more than 100 years in.1999 years. In the Ninth National Art Exhibition of China, water color painting, Chinese painting and oil painting are the third major paintings to be displayed independently. This landmark event made watercolor painting out of the historical situation of "small painting" in the "name". It is noteworthy that In the past twenty years, the rapid development of Chinese watercolor figure painting has made a lot of contributions to the promotion of the status of watercolor painting. In the development, the watercolor figure painting absorbs the realistic experience and expressive skills of Chinese painting and oil painting flexibly, and has also gained diversified development in the subject matter, especially the minority subjects have become increasingly concerned by the industry and society. As an important part of Chinese watercolor figure painting, in the present and contemporary pattern of art, the subject of Tibet has been favored. In addition to the guidance of literature and art policy, Tibet's unique natural environment, human history, customs and religious beliefs are all important elements to attract and arouse the creative desire of the artists. On the basis of the deep foundation of Tibet subject painting, this paper aims to discuss the basic context of the development of the watercolor figure painting of this kind of subject, the artistic features and the inherent connection with the natural and humanistic features of Tibet. Therefore, this article adopts the literature reading method and the image analysis. The method, comparative study and so on, collect a lot of information, carding the development vein of the watercolor figure painting of Tibet minority subject and the artistic achievements in different stages in the longitudinal direction, comparing with the Western watercolor figure painting horizontally, summarizing the characteristics of the watercolor figure painting of the Tibetan subject, the artistic height and the heart of his own creation. In order to have more theories to further guide the creation of the subject of Tibetan watercolor figure painting, create more excellent works, promote cultural exchanges between Tibetans and other ethnic groups, promote national identity, integration and cohesion. This article tries to play a role in throwing bricks into jade and hoping that this kind of subject can cause more. The attention of the painter and the art theory researchers, thus continuously strengthen the talent team of the theoretical research of watercolor figure painting, further improve the theory of the people in the Tibetan water color painting, and help the Tibet minority nationality watercolor figure painting in the future to promote the comprehensive promotion of the creation of the minority water color paintings in Tibet.

【學位授予單位】：西安美術學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J215

【參考文獻】

相關期刊論文 前1條

1 王鏞;;高原之魂——吳長江的藝術創(chuàng)作[J];美術向導;2010年05期

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本文編號：1863689