發(fā)布時(shí)間：2018-06-05 17:29

  本文選題：龍瑞 + 設(shè)色��； 參考：《中國(guó)藝術(shù)研究院》2014年碩士論文

【摘要】：龍瑞是一位有思想深度和學(xué)術(shù)見(jiàn)解的畫(huà)家。在當(dāng)代中國(guó)畫(huà)如何發(fā)展走什么樣道路的問(wèn)題上,龍瑞從中國(guó)文化立場(chǎng)出發(fā),針對(duì)中國(guó)畫(huà)的發(fā)展現(xiàn)狀,在2000年前后提出了“貼近文脈,正本清源”的學(xué)術(shù)主張,這是龍瑞對(duì)中國(guó)畫(huà)健康發(fā)展提出的觀點(diǎn)。 龍瑞近師李可染、黃賓虹,遠(yuǎn)學(xué)宋、元、明、清諸大家,在接受李可染山水畫(huà)傳統(tǒng)筆墨基礎(chǔ)上又加強(qiáng)了光影和色彩塑造,把現(xiàn)代色彩與傳統(tǒng)筆墨整合為一,在山水畫(huà)的設(shè)色上開(kāi)拓了自己的路徑。如他所說(shuō)：“我現(xiàn)在把自己往傳統(tǒng)道上拉,強(qiáng)調(diào)傳統(tǒng)標(biāo)準(zhǔn),強(qiáng)調(diào)筆墨,隨機(jī)生發(fā)、氣息和趣味。過(guò)一段時(shí)間,也可能殺回來(lái),再把構(gòu)成的東西撿起來(lái),吸收點(diǎn)新東西�！边@之后,龍瑞探索著將塞尚式的結(jié)構(gòu)畫(huà)法與晚年黃賓虹式的自由筆墨結(jié)合起來(lái),在色彩表現(xiàn)上汲取了西方繪畫(huà)的用色方法,在保持傳統(tǒng)水墨氣韻的前提下,設(shè)色追求光色變化的細(xì)節(jié),在墨色中融合了現(xiàn)代色彩之美。正所謂“墨為主,色為輔”,“色不礙墨,墨不礙色”。龍瑞大膽的實(shí)驗(yàn),自由的探求,使得其作品在傳統(tǒng)山水圖式的相襯下與現(xiàn)代色彩實(shí)現(xiàn)了新的美學(xué)意境,成為他這個(gè)時(shí)期作品的主要特色。 研究龍瑞設(shè)色山水作品,有利于我們進(jìn)一步的認(rèn)識(shí)、傳承和尊重傳統(tǒng)文脈,在山水畫(huà)借用現(xiàn)代色彩表現(xiàn)它的多元性和多樣性時(shí),把繪畫(huà)本身的理解和對(duì)中國(guó)山水畫(huà)史的把握所表現(xiàn)的藝術(shù)性上升到與“隨類賦彩”同等的理論層次,具有開(kāi)辟時(shí)風(fēng)的價(jià)值與意義。
[Abstract]:Long Rui is a painter with depth of thought and academic insight. On the question of how to develop the contemporary Chinese painting, Long Rui, from the standpoint of Chinese culture, put forward the academic proposition of "close to the context and the origin of the original" in the year 2000, in view of the present situation of the development of Chinese painting. This is Long Rui's view on the healthy development of Chinese painting. Li Keran, Huang Binhong, far from Song, Yuan, Ming and Qing, all of them, have strengthened light and shade and color shaping on the basis of accepting traditional Chinese painting of Li Keran. The combination of modern color and traditional brushwork has opened up its own path in landscape painting. As he said, "I am now pulling myself into the traditional way, emphasizing traditional standards, ink and ink, random hair, breath and interest." After a while, it may come back, pick up the composition and absorb something new. " After this, Long Rui explored the combination of Cezanne's structural painting and Huang Binhong's free pen and ink in his later years, and absorbed the color method of western painting in color expression, while maintaining the traditional ink and ink charm. Color pursuit of the details of light color change, in the ink blend the beauty of modern colors. The so-called "ink-based, color secondary", "color does not interfere with ink, ink does not interfere with color." Long Rui's bold experiment and free exploration made his works realize a new aesthetic conception under the background of traditional landscape schemata and modern colors, which became the main feature of his works in this period. Conducive to our further understanding, inheritance and respect for the traditional context, when landscape painting borrow modern colors to express its diversity and diversity, It is of great value and significance to raise the artistic quality of painting itself and grasp the history of Chinese landscape painting to the same theoretical level as that of "painting with different kinds of colors".
【學(xué)位授予單位】：中國(guó)藝術(shù)研究院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 林彩君;論色彩的感覺(jué)與表現(xiàn)力[J];寧波大學(xué)學(xué)報(bào)(教育科學(xué)版);2002年04期

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本文編號(hào)：1982841