本文選題：水彩風(fēng)景 + 樹(shù)��； 參考：《湖南師范大學(xué)》2013年碩士論文

【摘要】：作為自然界中最常見(jiàn)的事物,樹(shù)不僅與生命的存在息息相關(guān),在藝術(shù)表現(xiàn)領(lǐng)域,它也是占有著十分重要的地位。藝術(shù)家們常常通過(guò)對(duì)樹(shù)的描繪,或是表達(dá)自己對(duì)大自然的熱愛(ài)之情,或是抒發(fā)對(duì)故土的思念之感,從繪畫(huà)作品欣賞者的角度來(lái)看,繪畫(huà)作品中對(duì)樹(shù)的表現(xiàn)也能夠使人們得到了美的享受和熏陶,提高人們的審美情趣,對(duì)于培養(yǎng)人們熱愛(ài)自然、崇尚自然的意識(shí)觀念也有著積極而廣泛的意義。水彩畫(huà)作為十九世紀(jì)末從西洋傳人我國(guó)的舶來(lái)品,在短短一百年間,有著十分迅速的發(fā)展,在我國(guó)深得人民大眾的喜愛(ài),無(wú)論是在描繪靜物,人物還是風(fēng)景方面,她都有著自己特有的長(zhǎng)處以及其他畫(huà)種所無(wú)法比擬的獨(dú)特魅力,尤其是在水彩風(fēng)景的表現(xiàn)方面更是如此。樹(shù)作為水彩風(fēng)景中常見(jiàn)的表現(xiàn)元素之一,其在水彩風(fēng)景畫(huà)中的地位自然也是不言而喻的。但是從實(shí)踐等方面的經(jīng)驗(yàn)來(lái)看,對(duì)水彩風(fēng)景的學(xué)習(xí)者來(lái)說(shuō),不經(jīng)過(guò)長(zhǎng)期認(rèn)真的觀察和努力的練習(xí),要想畫(huà)好水彩風(fēng)景中的樹(shù)則不是一件簡(jiǎn)單容易的事。本文寫(xiě)作的目的,就是要通過(guò)分析當(dāng)前水彩風(fēng)景教學(xué)中畫(huà)樹(shù)所存在的一些難點(diǎn)、問(wèn)題和現(xiàn)狀,提出自己的觀點(diǎn)和看法,為解決水彩風(fēng)景教學(xué)中的這類(lèi)問(wèn)題提供一些參考。同時(shí)也希望自己的這些思考能夠?yàn)楫?dāng)前的美術(shù)教育工作起到一點(diǎn)促進(jìn)作用。 本文主要從關(guān)鍵詞——樹(shù)的表現(xiàn)難度這一問(wèn)題出發(fā),通過(guò)對(duì)當(dāng)前水彩風(fēng)景教學(xué)中學(xué)生在樹(shù)的表現(xiàn)方面的現(xiàn)狀、樹(shù)的各部分表現(xiàn)難度的綜合闡述,結(jié)合傳統(tǒng)國(guó)畫(huà)中對(duì)畫(huà)樹(shù)的研究,同時(shí)也通過(guò)對(duì)水彩名家作品的解析以及結(jié)合自己的創(chuàng)作體會(huì),來(lái)具體指出畫(huà)樹(shù)的難點(diǎn)所在,進(jìn)而通過(guò)分析畫(huà)樹(shù)的一些內(nèi)在規(guī)律,使學(xué)習(xí)者能夠?qū)λ曙L(fēng)景中樹(shù)的表現(xiàn)有所重視,在實(shí)踐中做到心中有數(shù)。此外,更重要的是本文希望能夠通過(guò)對(duì)實(shí)踐的總結(jié)和對(duì)理論的概括,提出一些想法和解決的方案,為讀者解決這類(lèi)問(wèn)題起一些拋磚引玉的作用。最后,希望本文能夠?yàn)楫?huà)樹(shù)這一在水彩風(fēng)景表現(xiàn)中存在的現(xiàn)實(shí)問(wèn)題提供一些有價(jià)值的參考和借鑒。
[Abstract]:As the most common thing in nature, the tree is not only closely related to the existence of life, but also occupies a very important position in the field of artistic expression. The artists often express their love for the nature by depicting the trees, or express their feeling of thinking of the earth, from the perspective of the artists of the paintings. Look, the performance of the tree in the painting can also make people enjoy the beauty and edify, improve people's aesthetic taste, to train people to love nature, to advocate the consciousness of nature also has a positive and extensive significance. As the late nineteenth Century, water color painting from the western people of our country, in a short period of one hundred years, there are ten. The rapid development, in our country deeply loved by the people, whether in the portraying of still life, characters or landscape, she has its own unique strengths and the unique charm that other paintings can not compare, especially in the performance of watercolor scenery. The status of watercolor landscape painting is natural and self-evident. But from the experience of practice and other aspects, it is not a simple and easy task to draw a good tree in watercolor scenery without long and serious observation and hard work. The purpose of this writing is to analyze the current water. Some difficulties, problems and present situation of painting trees in the teaching of color scenery are put forward and their views are put forward to provide some reference for solving these problems in the teaching of watercolor landscape, and also hope that their thinking can play a role in promoting the current art education.
This article is mainly from the key words - the problem of the performance of the tree, through the present situation of the performance of the middle school students in the watercolor landscape teaching, the difficulty of the performance of each part of the tree, the study of the painting trees in the traditional Chinese painting, and the analysis of the works of the famous watercolors and the combination of their own creation. It will point out the difficulties of drawing trees, and then analyze the inherent laws of the tree drawing, so that the learners can pay more attention to the performance of the tree in the watercolor landscape, and make a good idea in practice. In addition, it is more important that this article hope that some ideas and Solutions can be put forward through the summary of practice and the generalization of the theory. In the end, I hope this paper can provide some valuable reference and reference for the realistic problems in the performance of watercolor landscape.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J215

【共引文獻(xiàn)】

相關(guān)期刊論文 前1條

1 阿榮;;試論風(fēng)景畫(huà)教學(xué)中自然規(guī)律與藝術(shù)表現(xiàn)的統(tǒng)一性[J];大眾文藝;2014年20期

，

本文編號(hào)：1914630