本文選題：山水畫 + 色彩��； 參考：《廣東工業(yè)大學》2014年碩士論文

【摘要】：山水畫是中國畫其中的一種繪畫題材形式,在魏晉南北朝時期從人物畫獨立出來,成為單獨的藝術品,給后來專門研究山水畫畫家廣闊的繪畫空間。中國繪畫的發(fā)展經(jīng)歷了由追求形式到追求意境的變化,這是對事物由形到質的認識變化。對于中國山水畫來說,色彩是其中非常重要的一種元素,它能夠使山水畫中的四時、節(jié)令、時辰以及情調(diào)氣氛得到充分的表現(xiàn)。中國山水在很早就記載用色的理論之說,就像西方繪畫色彩上的紅、黃、藍,三原色,光源色,等繪畫理論。中國山水畫用色也有“青綠、淺降,裸青”的說法。再加上中國畫用墨,墨分五色,色墨結合的運用,豐富地展現(xiàn)了中國山水畫色彩的魅力。但并沒有一套像西方那樣的色環(huán)式的完整系統(tǒng)的學說,所以西方色彩的形式,給中國山水畫色彩很大的影響和借鑒。 任何一種學術研究都是能追溯到它的根源的,所以本文便從中國山水畫史,來開始對中國山水脈絡進行了梳理,通過分階段論述了各個朝代用色觀念和特點。這不僅使我們了解了前人的藝術主張,挖掘他們的思想淵遠,進而探循中國山水畫創(chuàng)作復興的道路,同時也使我們了解不同歷史時代山水畫的用色特點的發(fā)展方向。其次,對中西繪畫中的用色觀念進行了詳細的分析和對比,中國山水畫與西方風景畫在畫壇中都占據(jù)著極為重要的地位,這兩種表現(xiàn)相同的對象卻采用不同的表現(xiàn)手法的藝術形式,都具有獨特的色彩觀和審美情趣,通過對比分析,希望能夠從西方繪畫用色中進行借鑒,以此在,中國繪畫用色的基礎上找出一條新的道路,為中國繪畫的發(fā)展提供新的途徑。另外,對中國傳統(tǒng)壁畫及年畫中的用色特點進行了分析任何一種學術研究都是能追溯到它的根源的,所以本文便從中國山水畫史,來開始對中國山水觀進行了梳理,通過分階段論述了各個朝代用色觀念和特點。這不僅使我們了解了前人的藝術主張,挖掘他們的思想淵遠,進而探循中國山水畫創(chuàng)作復興的道路,同時也使我們了解不同歷史時代山水畫的用色特點的發(fā)展方向。其次,對中西繪畫中的用色觀念進行了詳細的分析和對比,中國山水畫與西方風景畫在畫壇中都占據(jù)著極為重要的地位,這兩種表現(xiàn)相同的對象卻采用不同的表現(xiàn)手法的藝術形式,都具有獨特的色彩觀和審美情趣,通過對比分析,希望能夠從西方繪畫用色中進行借鑒,以此在,中國繪畫用色的基礎上找出一條新的道路,為中國繪畫的發(fā)展提供新的途徑。另外,對中國傳統(tǒng)壁畫及年畫中的用色特點進行了分析,通過分析,從中國傳統(tǒng)繪畫藝術中進行提取,將其用色特點應用到山水畫中,形成新的風格。任何一個時代、一個地區(qū)的繪畫作品,都充滿了畫家們獨特的情感及審美觀念。中國山水畫雖然經(jīng)歷了坎坷和輝煌的階段,但是在中國繪畫作品中個,色彩一直占據(jù)著重要的地位。論文的最后一部分對山水畫中用色的創(chuàng)新進行了重點分析,將前面所圍繞的傳統(tǒng)及西方兩天,通過分析,從中國傳統(tǒng)繪畫藝術中進行提取,將其用色特點應用到山水畫中,形成新的風格。任何一個時代、一個地區(qū)的繪畫作品,都充滿了畫家們獨特的情感及審美觀念。中國山水畫雖然經(jīng)歷了坎坷和輝煌的階段,但是在中國繪畫作品中,色彩一直占據(jù)著重要的地位。論文的最后一部分對山水畫中用色的創(chuàng)新進行了重點分析,將前面所圍繞的傳統(tǒng)及西方兩天線索進行綜合整理,從繪畫的情感及光色的應用對中國山水畫中用色的創(chuàng)新進行了闡述,對山水畫色彩發(fā)展的研究進行了充分的說明和展望。
[Abstract]:Landscape painting is one of the subject forms of painting in Chinese painting. In the period of the Wei, Jin and Northern and Southern Dynasties, it emerged from the figure painting, became a separate art, and gave a broad space for the later study of the landscape painter. The development of Chinese painting experienced the change from the pursuit of form to the pursuit of the artistic conception, which is the change from the form to the quality. For Chinese landscape painting, color is one of the most important elements. It can make the four times, the season, the time and the atmosphere in the landscape painting fully show. Chinese landscape is very early on the theory of color use, like the theory of red, yellow, blue, three primary colors, light source color, and other painting theories in the color of Western painting. The color of water painting also has "green, shallow, naked green". In addition, the use of Chinese painting with ink, five colors, and the combination of color and ink shows the charm of the color of Chinese landscape painting. But there is no set of complete system theory like the western color ring style, so the form of Western color has a great shade of color to Chinese landscape painting. Sound and use for reference.
Any kind of academic research can be traced back to its root, so this article begins with the history of Chinese landscape painting, and begins to sort out the choroid of Chinese landscape, and discusses the color concept and characteristics of each dynasty by stages, which not only makes us understand the artistic ideas of the predecessors, excavate their thought abyss, and then explore the Chinese mountains. The road of the Renaissance of water painting also makes us understand the development direction of the color characteristics of the landscape painting in different historical times. Secondly, it makes a detailed analysis and contrast to the color concept of the Chinese and Western paintings. The Chinese landscape painting and the western landscape painting occupy a very important position in the painting world, and the two objects of the same expression are collected. With different artistic forms of expression, all of them have a unique view of color and aesthetic taste. Through comparative analysis, we hope to draw lessons from the color of Western painting. In this way, a new way is found on the basis of the color of Chinese painting to provide a new way for the development of Chinese painting. In addition, the Chinese traditional frescoes and the annual paintings are also provided. The analysis of any kind of academic research can be traced back to its origin, so this article begins with the history of Chinese landscape painting, and begins to sort out the Chinese landscape concept, and discusses the color concept and characteristics of each dynasty by stages, which not only makes us understand the previous artistic ideas and excavate their ideological abyss. Further, we will explore the road of the Renaissance of Chinese landscape painting creation, and also make us understand the development direction of the color characteristics of landscape painting in different historical times. Secondly, it makes a detailed analysis and contrast to the concept of color use in Chinese and Western paintings. Both Chinese landscape painting and Western landscape painting occupy a very important position in the painting world, these two kinds. The same object in the art form with different expressive techniques has a unique view of color and aesthetic taste. Through comparative analysis, we hope to learn from the color of Western painting to find a new way on the basis of the color of Chinese painting and provide a new way for the development of Chinese painting. The color characteristics of the traditional Chinese fresco and the annual painting are analyzed. Through the analysis, it is extracted from the traditional Chinese painting art, and applies the color characteristics to the landscape painting to form a new style. In any time, the paintings in a region are full of the unique feelings and aesthetic ideas of the artists. The stage of rough and brilliant, but in Chinese painting, color has always occupied an important position. The last part of the thesis focuses on the innovation of the color use in the landscape painting. The traditional and western two days in the front are extracted from the traditional Chinese painting art, and its color characteristics are applied. In the landscape painting, the new style is formed. In any time, the paintings of a region are full of the unique feelings and aesthetic ideas of the artists. Although Chinese landscape painting has experienced a rough and glorious stage, the color of the Chinese painting has always occupied the position of emphasis. The last part of the thesis is used in the landscape painting. The innovation of color is analyzed emphatically, the traditional and western two antenna cables are collate, the color innovation of Chinese landscape painting is expounded from the application of painting emotion and light color, and the research on the development of landscape painting color is fully explained and prospected.
【學位授予單位】：廣東工業(yè)大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

【引證文獻】

相關期刊論文 前4條

1 黃紅濤;;中國山水畫色彩的探尋與實踐分析[J];藝術與設計(理論);2016年06期

2 吳翰擎;馮旭;;論中國畫的色彩觀[J];明日風尚;2016年05期

3 王瑋琦;;“墨分五色”在山水畫中的融入[J];美與時代(中);2015年09期

4 袁琳;;中國畫色彩觀各發(fā)展階段的藝術特征[J];大舞臺;2015年03期

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本文編號：2021485