【摘要】：千姿百態(tài)的大自然為藝術(shù)家提供了豐富的感知和想象空間。油畫(huà)風(fēng)景寫(xiě)生雖然是有指向性地面對(duì)自然物象,但不能忽略其中的獨(dú)立表現(xiàn)性及本質(zhì)意義。從自然物象到視覺(jué)語(yǔ)言的轉(zhuǎn)換過(guò)程也就是藝術(shù)家以敏銳的觀察力去體會(huì)自然、歸納自然和表現(xiàn)自然的過(guò)程,是個(gè)性化藝術(shù)語(yǔ)言的實(shí)驗(yàn)田,是藝術(shù)家的文化修養(yǎng)、藝術(shù)品位在作品中的熔鑄與凝煉。油畫(huà)風(fēng)景作品呈現(xiàn)的不僅是審美主體內(nèi)心情感的抒寫(xiě),也是藝術(shù)家與自然物象之間的精神對(duì)話(huà),是被關(guān)照的物象生命形式的體現(xiàn)。造型藝術(shù)中自然物象的表現(xiàn)從來(lái)都不是純粹的臨摹和復(fù)制,而是藝術(shù)家經(jīng)由汲納前人的視覺(jué)轉(zhuǎn)換經(jīng)驗(yàn),并自覺(jué)地發(fā)揮主觀能動(dòng)性,通過(guò)熟練的技法與獨(dú)特的語(yǔ)言表達(dá)出的對(duì)自然與人文的審美關(guān)懷。 本文以油畫(huà)風(fēng)景寫(xiě)生中自然物象與視覺(jué)語(yǔ)言之間的轉(zhuǎn)換性為課題,結(jié)合寫(xiě)生實(shí)踐過(guò)程中可能出現(xiàn)的問(wèn)題,運(yùn)用概念分析、作品解析以及具體實(shí)踐指導(dǎo)等方法進(jìn)行研究。文章首先分析了自然物象與繪畫(huà)視覺(jué)語(yǔ)言各自的特點(diǎn)及兩者的關(guān)系,從而得出：繪畫(huà)視覺(jué)語(yǔ)言是基于自然物象而存在的,同時(shí)又是藝術(shù)家對(duì)自然物象進(jìn)行體會(huì)、歸納和表現(xiàn)等藝術(shù)加工以后得到的超越自然的形象；其次,論述了油畫(huà)風(fēng)景藝術(shù)視覺(jué)語(yǔ)言的表達(dá)要素——畫(huà)面形式因素及文化精神因素,其中畫(huà)面形式因素包括取景構(gòu)圖、色彩結(jié)構(gòu)、筆觸等視覺(jué)語(yǔ)言轉(zhuǎn)換的基本要素,而文化精神因素則是藝術(shù)家與觀者心靈溝通的橋梁以及時(shí)代精神與風(fēng)俗的真實(shí)寫(xiě)照；第三,介紹了從自然物象到視覺(jué)語(yǔ)言轉(zhuǎn)換的方法,主要包括中西方寫(xiě)生精神理論的比較與借鑒,以及寫(xiě)生實(shí)踐過(guò)程中觀察方法與自我表達(dá)兩方面對(duì)視覺(jué)語(yǔ)言轉(zhuǎn)換的培養(yǎng),并在此基礎(chǔ)上進(jìn)一步提出如何運(yùn)用中國(guó)傳統(tǒng)精神與油畫(huà)材料二者有機(jī)結(jié)合,從而有效傳達(dá)油畫(huà)民族化概念；最后,根據(jù)親身的學(xué)習(xí)和體會(huì),總結(jié)了一些關(guān)于風(fēng)景寫(xiě)生實(shí)踐的認(rèn)識(shí)以匡正之前的某些片面化理解,或可對(duì)繪畫(huà)專(zhuān)業(yè)學(xué)子及從業(yè)者有所助益。
[Abstract]:The diverse nature provides the artist with rich space of perception and imagination. Although oil painting landscape sketches face the natural objects directionally, we can not ignore the independent expressiveness and essential significance. The process of transforming from natural images to visual languages is the process of artists experiencing nature, summarizing nature and expressing nature with keen observation, which is the experimental field of individualized artistic language and the cultural accomplishment of artists. The melting and condensing of artistic taste in works. What oil painting landscape works present is not only the expression of the inner emotion of the aesthetic subject, but also the spiritual dialogue between the artist and the natural object image, and the embodiment of the life form of the object image that has been taken care of. The expression of natural objects in plastic arts has never been pure copying and reproduction, but artists have absorbed the previous experience of visual transformation and consciously brought their subjective initiative into full play. Through skilled techniques and unique language to express the aesthetic concern for nature and humanity. In this paper, the conversion between natural objects and visual language in oil painting landscape painting is the subject, combined with the possible problems in the process of sketch practice, using the methods of concept analysis, work analysis and practical guidance. This paper first analyzes the characteristics and the relationship between the natural object image and the painting visual language, and concludes that the painting visual language exists on the basis of the natural object image, and at the same time, it is the artist's experience of the natural object image. Secondly, it discusses the expression factors of visual language of oil painting landscape art-picture form factor and cultural spirit factor, among which the picture form factor includes the picture composition, and so on artistic processing obtains the surpassing nature image; second, discusses the oil painting landscape art visual language expression factor-the picture form factor and the cultural spirit factor, Color structure, brush strokes and other basic elements of visual language transformation, while cultural spirit is the bridge between the artist and the viewer's soul, and the true portrayal of the spirit of the times and customs; third, This paper introduces the methods of transformation from natural object image to visual language, including the comparison and reference of Chinese and Western sketch spirit theory, and the cultivation of visual language transformation in the process of sketch practice from observation method and self-expression. And on this basis, further put forward how to use the traditional Chinese spirit and oil painting materials organic combination, so as to effectively convey the concept of oil painting nationalization; finally, according to personal learning and experience, This paper summarizes some views on the practice of landscape sketching in order to correct some one-sided understanding before, which may be helpful to the students and practitioners of painting major.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 葉朗 ,王魯湘;張彥遠(yuǎn)的再發(fā)現(xiàn)[J];美術(shù);1987年12期

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本文編號(hào)：2130110