【摘要】：水彩進(jìn)入中國(guó)二百多年的歷程里,沒(méi)有哪一次像今天一樣被越來(lái)越多的觀眾喜愛(ài),也因此出現(xiàn)在各大畫(huà)展上,人們不僅因?yàn)楸凰仕珪炄镜男Чv足,而且越來(lái)越多的繪畫(huà)愛(ài)好者開(kāi)始學(xué)習(xí)水彩。在許海剛老師的水粉及水彩類(lèi)金獎(jiǎng)后,越來(lái)越多的藝術(shù)家開(kāi)始運(yùn)用水彩創(chuàng)作,同時(shí)在實(shí)踐的過(guò)程中加深了對(duì)水彩的理解并對(duì)水彩做了新的定義:即任何在紙本上的水性材料都可以稱為水彩�，F(xiàn)在我們可以在各大征稿的展覽里看到水性材料的作品正在成為他們不可忽視的一部分,我們也可以在很多畫(huà)展上看到更多年輕藝術(shù)家的水性材料的作品在畫(huà)展里展出,這些年輕的藝術(shù)家給水彩的發(fā)展注入了新的活力。同時(shí)也出現(xiàn)了令人憂心的一點(diǎn),這種擔(dān)憂漸漸的被很多觀畫(huà)之人發(fā)現(xiàn),這就是在不同畫(huà)展覽中,我們經(jīng)常發(fā)現(xiàn)會(huì)出現(xiàn)很多相似的水彩畫(huà),給人產(chǎn)生的錯(cuò)覺(jué)就是在這些不同的展覽里展出的或得獎(jiǎng)的水彩作品出自同樣幾個(gè)人的手筆。這類(lèi)撞車(chē)現(xiàn)象讓很多看畫(huà)的人產(chǎn)生了視覺(jué)的審美疲勞。畫(huà)畫(huà)的人都清楚這是什么造成的,他們也在反思怎么樣讓觀賞畫(huà)的人改變有這樣的感覺(jué)。作為前輩們的崇拜者,這種崇拜不僅是技術(shù)上的模仿,更多的是創(chuàng)作內(nèi)容上無(wú)法達(dá)到前輩們的作品深度,所以導(dǎo)致很多畫(huà)者在題材內(nèi)容選擇很容易縮小范圍出現(xiàn)撞車(chē)。事實(shí)上,造成這種現(xiàn)象的原因不單單是沒(méi)有對(duì)水彩從材料的創(chuàng)新和內(nèi)容表達(dá)上的創(chuàng)新,而是不知道水性材料如何在材料和內(nèi)容上創(chuàng)新,如果不改進(jìn)水性材料是不可能打破這樣的現(xiàn)象。本論文討論和介紹的是水性材料如何在材料和內(nèi)容上創(chuàng)新和我們結(jié)合當(dāng)代藝術(shù)觀念通過(guò)何種方式把水性材料中國(guó)化方法的設(shè)想。
[Abstract]:In the course of more than 200 years of watercolor entering China, no one has been loved by more and more audiences as it is today. As a result, it has also appeared at major art exhibitions. People are not only attracted to stop by the effect of watercolor dizziness. And more painting lovers began to learn watercolor. After teacher Xu Haigang's water powder and watercolor gold medal, more and more artists began to use watercolor to create. At the same time, in the process of practice, it deepens the understanding of watercolor and makes a new definition of watercolor: any water-based material on paper can be called watercolor. Now we can see in the exhibitions of the major manuscripts that the works of water-based materials are becoming a part of them that can not be ignored. We can also see at many exhibitions that more young artists' works of water-based materials are on display at the exhibition. These young artists inject new vitality into the development of watercolor. At the same time, there is also a worrying point. This concern has gradually been discovered by many painters. This is that in different exhibitions, we often find that there are many similar watercolor paintings. The illusion is that watercolor works exhibited or awarded in these different exhibitions are written by the same people. This kind of car crash makes many people who look at paintings have visual aesthetic fatigue. Painters know what this is, and they are reflecting on how to change the feeling of the viewer. As the admirers of the predecessors, this worship is not only a technical imitation, but also the creation content can not reach the depth of their works, so many artists in the subject matter selection is easy to narrow down the scope of car crash. In fact, the reason for this phenomenon is not simply the lack of innovation in terms of material and content expression for watercolor, but the lack of knowledge of how water-based materials innovate in material and content. It is impossible to break this phenomenon without improving water-based materials. This paper discusses and introduces how water-based materials are innovated in materials and contents and how to make water-based materials Chinese by combining with contemporary artistic concepts.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J215

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