本文選題：抽象 + 青綠�。� 參考：《上海師范大學(xué)》2017年碩士論文

【摘要】：我以對中國書畫的欣賞和借鑒為因緣,進行我個人的油畫創(chuàng)作,主要是對色彩語言與構(gòu)圖等方面的裝飾化的探索。我的創(chuàng)作題目是《六象》�！按笙鬅o形”,在創(chuàng)作過程中,對于畫面中的物象,我抽離掉具體形象,以抽象處理為主,進行繪畫語言的探索。而畫面語言,首先以色彩上的裝飾化處理為重點,其次注重構(gòu)圖布局,再次注意油畫材質(zhì)本身的質(zhì)感與筆觸對比。我把個人油畫創(chuàng)作中的抽象化處理,例如把物象改造成為自己心象的、既合理又合乎一定美感法度的手法稱做裝飾化處理。而這個裝飾化,不是一般意義上常見的裝飾畫概念,而是我內(nèi)心的一種詩意的外化或說是感情和感觸的視覺化呈現(xiàn)。我個人首先從欣賞者的角度來取法青綠山水的裝飾意味,從構(gòu)圖安排上,色彩的裝飾效果上,都得到了很大的啟發(fā)。我嘗試將所看與所得運用在油畫創(chuàng)作上,尤其是風(fēng)景畫的創(chuàng)作中,尋求一種在寫生基礎(chǔ)上的、色彩和構(gòu)圖都追求平面化和裝飾化、簡單里蘊藏豐富的藝術(shù)品質(zhì)。我以風(fēng)景色彩寫生為創(chuàng)作基礎(chǔ),以避免后期進行抽象處理的作品成為無緣之水,無本之木。期間參考中國畫當(dāng)中的青綠山水的色彩處理效果,進行畫面語言的色彩試驗,逐漸使創(chuàng)作走向抽象,使之具有裝飾之美。我在中國傳統(tǒng)書法上也吸收了一部分營養(yǎng)。具體到視覺元素上,為:取其空間安排,取其線條的扭轉(zhuǎn)與力量感,化為油畫語言,例如筆觸上的一些嘗試,等等。書法用筆里本來即有自己的旋律和節(jié)奏,我在油畫作品里,也力求在筆觸上,色塊對比上具備書法帶給我的這種感覺。我將自己學(xué)習(xí)繪畫以來的油畫寫生與創(chuàng)作的技術(shù)積累,借鑒中國書畫對畫面的處理方式和效果,用色彩與點線面等繪畫元素,以有形之筆,寫抽象之美,并試圖抒發(fā)內(nèi)心的詩意。
[Abstract]:Based on the appreciation and reference of Chinese calligraphy and painting, I have made my own oil painting creation, mainly to explore the decoration of color language and composition. The title of my creation is six Elephants. "Elephant invisible", in the creative process, for the picture of the image, I pull away from the specific image, mainly to abstract processing, painting language exploration. The picture language, first of all, focus on the color of decorative processing, and then pay attention to the composition of the layout, again pay attention to the texture of the oil painting material and brush strokes contrast. I call the abstract treatment of personal oil painting, such as transforming the object image into one's own mind image, which is both reasonable and in accordance with a certain sense of beauty. This decoration is not a common concept of decorative painting in general sense, but a poetic externalization or visual representation of feelings and feelings in my heart. I first from the perspective of the viewer to learn the decoration of green landscape, from the composition of the arrangement, color decoration effect, have been a lot of inspiration. I try to apply what I see and get in oil painting, especially landscape painting, to seek a kind of painting on the basis of painting, color and composition of the pursuit of flatness and decoration, simple contains rich artistic quality. I use landscape color sketching as the basis of creation to avoid the late works of abstract processing into the water, no wood. During the period of reference to the Chinese painting in the green landscape color treatment effect, the screen language color experiment, gradually make the creation to be abstract, so that it has the beauty of decoration. I also absorbed some nutrients in traditional Chinese calligraphy. Specific to the visual elements, for: take its space arrangement, take its lines of twist and sense of strength, into oil painting language, such as some attempts on strokes, and so on. Calligraphy pen originally has its own melody and rhythm, I also strive in oil painting, on the strokes, color blocks on the contrast with calligraphy to give me this feeling. I have accumulated the techniques of painting and painting since I studied painting, using the treatment and effect of Chinese calligraphy and painting for reference, using painting elements such as color and dot, line and surface, and writing abstract beauty with tangible pen. And try to express the poetic meaning of the heart.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J213
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本文編號：1926344