當(dāng)代重彩人物畫(huà)色彩研究
發(fā)布時(shí)間：2018-08-25 08:00
【摘要】：自從20世紀(jì)70年代以來(lái),當(dāng)代重彩人物畫(huà)在其發(fā)展探索的過(guò)程中不斷的回溯傳統(tǒng)重彩繪畫(huà)在這個(gè)學(xué)習(xí)過(guò)程中得到了很大的提高。當(dāng)代的重彩人物畫(huà)的繪畫(huà)形態(tài)和藝術(shù)語(yǔ)言是以一種開(kāi)放的意識(shí)來(lái)面對(duì)新時(shí)代,雖然借鑒傳統(tǒng)但不拘泥于傳統(tǒng)。它正在努力尋找自己的表現(xiàn)語(yǔ)言和發(fā)展方向。當(dāng)代重彩人物畫(huà)著重強(qiáng)化了色彩這一概念,注重色彩的各種美的潛質(zhì),并且還從水彩畫(huà),西方寫實(shí)油畫(huà),汲取營(yíng)養(yǎng),極大的豐富了工筆重彩人物畫(huà)的表現(xiàn)方式。在古代,中國(guó)畫(huà)被稱之為丹青,由此可見(jiàn)中國(guó)畫(huà)原本就是一個(gè)彩色的世界。工筆重彩人物畫(huà)在長(zhǎng)期的發(fā)展變化中形成了自己獨(dú)特的色彩觀和色彩體系,與繪畫(huà)緊密相關(guān)的繪畫(huà)材料也在這個(gè)過(guò)程中不斷的發(fā)展和完善。當(dāng)代重彩人物畫(huà)跟隨歷史車輪的前進(jìn),邊學(xué)習(xí)、邊吸收、邊發(fā)展與重彩創(chuàng)作緊密相關(guān)的繪畫(huà)顏料和繪制技法在這個(gè)漫長(zhǎng)的過(guò)程中發(fā)展和完善起來(lái),當(dāng)代重彩人物畫(huà)與寫意水墨人物畫(huà)不同,同時(shí)與水性顏色創(chuàng)作的淡彩人物畫(huà)也不同,他的表現(xiàn)方法是多樣開(kāi)放豐富的。它主要以礦物顏料為主。著重注意色彩間的組合排列和材質(zhì)本身的美感。它是中國(guó)繪畫(huà)的開(kāi)放形態(tài)。它在積極發(fā)展的同時(shí)又弘揚(yáng)了我國(guó)的民族藝術(shù)文化,以開(kāi)放的姿態(tài)接納借鑒日本和西方寫實(shí)主義繪畫(huà)中有益的成分豐富自己的表現(xiàn),從而使自己的發(fā)展更加良性在中國(guó)畫(huà)的所有分類中,重彩人物畫(huà)無(wú)疑是與顏色結(jié)合最為密切的畫(huà)科,新時(shí)期的重彩人物畫(huà),重彩人物畫(huà)自身的發(fā)展離不開(kāi)時(shí)代的大背景,新的繪畫(huà)思潮,繪畫(huà)工具的更新等很多因素相伴隨。當(dāng)代重彩人物畫(huà)可以繼承和沿用傳統(tǒng)繪畫(huà)的裝飾性,也可以強(qiáng)調(diào)當(dāng)代藝術(shù)的繪畫(huà)性,或者把以上二者結(jié)合起來(lái)并重。它的繪畫(huà)語(yǔ)言、表現(xiàn)手段在歷史的進(jìn)程中不斷發(fā)展、變化、成型,在造型、顏色、肌理、技法等方面都得到了很大的發(fā)展,它是傳統(tǒng)工筆畫(huà)的開(kāi)放形態(tài),并且正在努力探索創(chuàng)造其新的藝術(shù)語(yǔ)言體系,這種探索與創(chuàng)新的藝術(shù)語(yǔ)言體系既是傳統(tǒng)的也是現(xiàn)代的。以顏色本身為優(yōu)勢(shì),兼容傳統(tǒng)和現(xiàn)代的藝術(shù)思想充分發(fā)揮當(dāng)代巖彩的有益之處為己而用。在繪畫(huà)學(xué)習(xí)中“色彩創(chuàng)新”是我們學(xué)習(xí)和創(chuàng)作必須重視的課題,它有著無(wú)限的發(fā)展空間和巨大開(kāi)發(fā)潛力。學(xué)習(xí)鉆研當(dāng)代重彩人物畫(huà)的顏色讓我們?cè)趯W(xué)習(xí)過(guò)程中,不斷的認(rèn)識(shí)到傳統(tǒng)文化和傳統(tǒng)藝術(shù)帶給人類美的享受,還有創(chuàng)作材料本身的魅力,為我們當(dāng)代重彩人物畫(huà)在繼承傳統(tǒng)藝術(shù)文化的基礎(chǔ)上,不斷的勇于創(chuàng)新,開(kāi)拓當(dāng)代重彩人物畫(huà)表現(xiàn)空間具有非常重要的意義。
[Abstract]:Since the 1970s, contemporary heavy color figure painting in its development and exploration of the process of continuous retrospect of the traditional painting in this learning process has been greatly improved. The painting form and artistic language of contemporary heavy color figure painting face the new era with an open consciousness, although draw lessons from the tradition but do not stick to the tradition. It is trying to find its own language and direction of development. Contemporary heavy color figure painting emphasizes the concept of color, pays attention to all kinds of beauty potential of color, and draws nutrition from watercolor painting and western realistic oil painting, which greatly enriches the expression way of meticulous heavy color figure painting. In ancient times, Chinese painting was called Danqing, so Chinese painting was originally a world of color. Fine brushwork heavy color figure painting has formed its own unique color view and color system in the long-term development and change, and painting materials closely related to painting are also constantly developed and improved in this process. Contemporary heavy-colored figure painting follows the wheel of history, while learning, absorbing, while developing painting pigments and drawing techniques closely related to the creation of heavy colors in this long process of development and improvement. Contemporary heavy color figure painting and freehand brushwork figure painting are different from the water-based color of the light color figure painting, his methods of expression is diverse, open and rich. It is mainly mineral pigments. Focus on the combination of color arrangement and the beauty of the material itself. It is the open form of Chinese painting. At the same time, it has carried forward the national art and culture of our country, and adopted the beneficial elements in Japanese and Western realistic painting to enrich its performance with an open attitude. In order to make their own development more benign in all categories of Chinese painting, the heavy color figure painting is undoubtedly the most closely combined with the color of the painting section, the new era of the heavy color figure painting, the development of the heavy color figure painting itself cannot leave the background of the times. The new trend of thought in painting and the renewal of painting tools are accompanied by many other factors. Contemporary heavy color figure painting can inherit and follow the decorative nature of traditional painting, but also emphasize the painting of contemporary art, or combine the above two. Its painting language and means of expression continue to develop, change, shape, color, texture, techniques and so on in the process of history. It is an open form of traditional brushwork. And is trying to explore and create its new artistic language system, this exploration and innovation of artistic language system is both traditional and modern. Color itself as the advantage, compatible with the traditional and modern artistic ideas to give full play to the benefits of contemporary rock color for their own use. In the study of painting, "color innovation" is a subject that we must pay attention to in our study and creation. It has unlimited development space and great development potential. Learning to study the colors of contemporary portraits allows us to constantly realize the beauty of traditional culture and traditional art, as well as the charm of the material itself. On the basis of inheriting the traditional art and culture, it is of great significance for us to innovate constantly and open up the expression space of contemporary heavy color figure painting.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212
本文編號(hào)：2202268
[Abstract]:Since the 1970s, contemporary heavy color figure painting in its development and exploration of the process of continuous retrospect of the traditional painting in this learning process has been greatly improved. The painting form and artistic language of contemporary heavy color figure painting face the new era with an open consciousness, although draw lessons from the tradition but do not stick to the tradition. It is trying to find its own language and direction of development. Contemporary heavy color figure painting emphasizes the concept of color, pays attention to all kinds of beauty potential of color, and draws nutrition from watercolor painting and western realistic oil painting, which greatly enriches the expression way of meticulous heavy color figure painting. In ancient times, Chinese painting was called Danqing, so Chinese painting was originally a world of color. Fine brushwork heavy color figure painting has formed its own unique color view and color system in the long-term development and change, and painting materials closely related to painting are also constantly developed and improved in this process. Contemporary heavy-colored figure painting follows the wheel of history, while learning, absorbing, while developing painting pigments and drawing techniques closely related to the creation of heavy colors in this long process of development and improvement. Contemporary heavy color figure painting and freehand brushwork figure painting are different from the water-based color of the light color figure painting, his methods of expression is diverse, open and rich. It is mainly mineral pigments. Focus on the combination of color arrangement and the beauty of the material itself. It is the open form of Chinese painting. At the same time, it has carried forward the national art and culture of our country, and adopted the beneficial elements in Japanese and Western realistic painting to enrich its performance with an open attitude. In order to make their own development more benign in all categories of Chinese painting, the heavy color figure painting is undoubtedly the most closely combined with the color of the painting section, the new era of the heavy color figure painting, the development of the heavy color figure painting itself cannot leave the background of the times. The new trend of thought in painting and the renewal of painting tools are accompanied by many other factors. Contemporary heavy color figure painting can inherit and follow the decorative nature of traditional painting, but also emphasize the painting of contemporary art, or combine the above two. Its painting language and means of expression continue to develop, change, shape, color, texture, techniques and so on in the process of history. It is an open form of traditional brushwork. And is trying to explore and create its new artistic language system, this exploration and innovation of artistic language system is both traditional and modern. Color itself as the advantage, compatible with the traditional and modern artistic ideas to give full play to the benefits of contemporary rock color for their own use. In the study of painting, "color innovation" is a subject that we must pay attention to in our study and creation. It has unlimited development space and great development potential. Learning to study the colors of contemporary portraits allows us to constantly realize the beauty of traditional culture and traditional art, as well as the charm of the material itself. On the basis of inheriting the traditional art and culture, it is of great significance for us to innovate constantly and open up the expression space of contemporary heavy color figure painting.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212
【相似文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前1條
1 郭寧;當(dāng)代重彩人物畫(huà)色彩研究[D];東北師范大學(xué);2014年
，本文編號(hào)：2202268
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