本文選題：中國水墨畫 + 造型�。� 參考：《吉林大學》2013年碩士論文

【摘要】：水墨畫是中國土生土長的藝術(shù)，它在中國文化的陽光雨露哺乳下成長，表現(xiàn)中國文化藝術(shù)精神、傳達中國文化藝術(shù)內(nèi)涵。水墨畫，是中國繪畫的代表，也就是狹義的國畫，是中國獨具特色的傳統(tǒng)繪畫之一，是用中國獨有的毛筆，以水調(diào)墨、調(diào)色，畫在具有滲化性能的生宣紙及其它吸水性較強的紙上的一種繪畫，是在筆、墨、水綜合運用下進行意象造型的畫種，畫面形象不拘泥于自然，講究直抒胸懷。水墨畫的書寫性是自身豐富的形式之一，書寫性的筆法之妙在于能使水墨藝術(shù)中的空靈、流變、通透韻味發(fā)揮的淋漓盡致。本文就水墨畫的塑造與書寫性的問題細述了造型、素描、空間在水墨塑造中結(jié)構(gòu)與發(fā)展內(nèi)容，，水墨畫的書寫性，以及線性特點和順序性的描述對中國水墨畫的的深遠影響。 全文共分為四章： 第一章：主要闡述水墨畫的塑造，水墨畫中筆墨形象的塑造，對它的筆墨形象意識、形象結(jié)構(gòu)與動態(tài)、形象的筆墨表現(xiàn)來一一論述。其次是對水墨畫造型重要部分的闡述，分別從用筆、用墨的表現(xiàn)語言來講解。同時把結(jié)構(gòu)與造型之間的相互關(guān)系來說明，比如從古今中外畫種或者筆墨結(jié)構(gòu)造型來做闡述。 第二章：從造型中的素描與空間來闡述我對水墨畫造型和書寫性的觀點。分別從素描與空間，素描與造型，空間與造型，素描、空間和造型之間的關(guān)系來一一闡述。 第三章：對水墨畫書寫性分四步來分析，1、書寫性2、書寫性的意義3、書寫性的價值4、水墨畫及書法中的線性特點。 第四章：是從書寫性當中的線性特點，線性特點分為書法性和順序性來講，再從書法與造型設(shè)計之間關(guān)系來論述。
[Abstract]:Chinese ink painting is a native art of China. It grows up under the sunshine and dew of Chinese culture, expresses the spirit of Chinese culture and art, and conveys the connotation of Chinese culture and art. Chinese ink painting, which is the representative of Chinese painting, is one of the traditional Chinese paintings with unique characteristics. It uses Chinese unique brushes to adjust ink and color with water. A kind of painting on the paper with permeation performance and other paper with strong water absorption, is a kind of image modeling under the comprehensive use of pen, ink and water. The image of the picture is not restricted to nature and stresses straight expression of mind. The writing of ink painting is one of its rich forms. In this paper, the structure and development contents of ink and wash painting are described in detail, such as modeling, sketch and space, and the writing of ink painting. The paper is divided into four chapters: the first chapter: mainly expounds the creation of ink and ink in the ink painting, the image of the ink and brush, the image consciousness of the ink and brush, the paper is divided into four chapters: the first chapter is mainly about the creation of the ink and ink painting, the image of the ink and stroke in the ink painting, the image consciousness of the ink and brush painting. Image structure and dynamic, image of the pen and ink performance to discuss one by one. The second is the important part of ink painting, from the pen, ink to explain the performance language. At the same time to explain the relationship between structure and modeling, for example, from the ancient and modern Chinese and foreign painting or ink structure modeling to elaborate. Chapter two: from the shape of sketch and space to explain my views on ink painting modeling and writing. From sketch and space, sketch and modeling, space and modeling, sketch, The relationship between space and styling is expounded. Chapter three: to analyze the writing of ink and wash painting in four steps: 1, 2, 3, 4, 4, and the linear characteristics of ink and ink painting and calligraphy. From the linearity of writing, The linear characteristics are divided into calligraphy and sequence, and then discussed from the relationship between calligraphy and styling design.
【學位授予單位】：吉林大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J212

【參考文獻】

相關(guān)期刊論文 前2條

1 馬濤;淺談水墨人物畫及造形[J];美術(shù)大觀;2005年09期

2 吳燕平;中國傳統(tǒng)繪畫的造型觀念[J];美術(shù)觀察;1997年12期

本文編號：2005112