王懷慶油畫幾何結(jié)構(gòu)造型語言研究
發(fā)布時間：2018-09-17 09:24
【摘要】：王懷慶于八十年代后期開始了對形式的探索與思考,從早期的變形構(gòu)成到紹興的故園,再到后來的明清家具,在藝術(shù)語言的探索上,他的創(chuàng)作經(jīng)歷了“解構(gòu)-結(jié)構(gòu)-重構(gòu)”三個階段。其作品無論在繪畫材料的選擇與運用,還是在繪畫語言的表達上都有了很大的改變與突破。近些年的大型創(chuàng)作《大明風度》、《金石為開》、《沒有家具的家》等作品使他成為當代杰出的藝術(shù)家之一。他作品中呈現(xiàn)的幾何化的藝術(shù)語言結(jié)合了西方的抽象藝術(shù)語言、結(jié)構(gòu)解構(gòu)主義觀念,作品內(nèi)容上多選擇中國家具、建筑題材,強調(diào)畫面的布局,突出幾何圖形組合的趣味性。三十年來,王懷慶不斷鉆研,專注創(chuàng)作,逐步成為中國藝術(shù)史上具有代表性的構(gòu)成主義表現(xiàn)藝術(shù)家之一。在王懷慶后期繪畫風格的養(yǎng)成上,其老師吳冠中先生對其有著極大的影響。在他畫面中概括的幾何結(jié)構(gòu)、簡潔的黑白因素都與其老師的創(chuàng)作密切相關。五六十年代,吳冠中先生陶醉于江南水鄉(xiāng)獨有的黑墻白瓦構(gòu)成的美景中,被其中的美感深深打動,將江南建筑中簡單的黑白幾何塊面結(jié)構(gòu)融入到自己的畫面中,形成自己獨特的形式語言。在王懷慶的作品中,從最早求索變形結(jié)構(gòu)到紹興的故園建構(gòu),再到明清的家具解構(gòu),其作品打破了繪畫邊框的界限,以純粹的畫面幾何語言介入到平面的擴展,形成自己的獨特表達方式。本文分為五章:第一章為繪畫幾何結(jié)構(gòu)造型語言闡釋,主要從人類早期繪畫中幾何造型的運用與幾何造型語言在當代繪畫中的體現(xiàn)方面展開論述;第二章是對王懷慶油畫幾何結(jié)構(gòu)的解讀,從其繪畫創(chuàng)作的平面幾何符號的構(gòu)建、單純色塊符號的體現(xiàn)、象征幾何符號的運用這三個方面展開論述;第三章王懷慶油畫幾何結(jié)構(gòu)的凸顯與造型語言的構(gòu)建,著重從黑白橫豎化的構(gòu)成形式、色塊符號之間空間傳遞兩個角度展開論述;第四章闡述了王懷慶幾何結(jié)構(gòu)形式的獨特性,從構(gòu)成方式與構(gòu)成規(guī)律、外形結(jié)構(gòu)與造型特征兩方面進行論述;第五章幾何結(jié)構(gòu)對當代油畫創(chuàng)作的啟示,是筆者針對幾何結(jié)構(gòu)對畫面構(gòu)成的作用和對畫面形式的引導兩個方面提出的個人觀點。
[Abstract]:Wang Huaiqing began to explore and think about the form in the late 1980s, from the early deformation to the old garden of Shaoxing, to the furniture of the Ming and Qing dynasties later, to the exploration of artistic language. His creation went through three stages: deconstruction-structure-reconstruction. Both in the selection and use of painting materials, or in the expression of painting language, there have been great changes and breakthroughs. In recent years, he has become one of the outstanding contemporary artists in his large-scale works, such as Daming style, Golden Stone, Home without Furniture, and so on. The geometric artistic language presented in his works combines the abstract artistic language of the West, the concept of structural deconstruction, the choice of Chinese furniture and architectural themes in the content of his works, emphasizing the layout of the picture and highlighting the interest of the combination of geometric figures. Over the past 30 years, Wang Huaiqing has been studying and focusing on creation, and has gradually become one of the representative performance artists in the history of Chinese art. His teacher, Mr. Wu Guanzhong, had a great influence on Wang Huaiqing's later painting style. The geometric structure and the concise black and white factors in his picture are closely related to his teacher's creation. In the 1950s and 1960s, Mr. Wu Guanzhong was enchanted by the beauty of the black wall and white tile unique to Jiangnan Water Township. He was deeply moved by the beauty, and incorporated the simple black-and-white geometric block structure of the Jiangnan architecture into his own picture. Form one's own unique formal language. In Wang Huaiqing's works, from the earliest seeking for deformation structure to the construction of Shaoxing's old garden, and then to the furniture deconstruction of Ming and Qing dynasties, his works broke the boundary of drawing frame and intervened into the expansion of plane with pure picture geometric language. Form their own unique expression. This paper is divided into five chapters: the first chapter is the interpretation of geometric structure modeling language of painting, mainly from the application of geometric modeling in early human painting and the embodiment of geometric modeling language in contemporary painting. The second chapter is the interpretation of Wang Huaiqing oil painting geometry structure, from his painting creation plane geometry symbol construction, pure color block symbol embodiment, symbol geometric symbol use these three aspects to begin to discuss; Chapter III highlights the geometric structure of Wang Huaiqing oil painting and the construction of modeling language, focusing on the black and white vertical form of the composition, color blocks between the two angles of space transmission; chapter four describes the unique form of Wang Huaiqing geometric structure, The fifth chapter discusses the inspiration of geometric structure to contemporary oil painting creation. It is a personal point of view on the function of geometric structure to the composition of the picture and the guidance of the form of the picture.
【學位授予單位】：西南大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：J213
本文編號：2245431
[Abstract]:Wang Huaiqing began to explore and think about the form in the late 1980s, from the early deformation to the old garden of Shaoxing, to the furniture of the Ming and Qing dynasties later, to the exploration of artistic language. His creation went through three stages: deconstruction-structure-reconstruction. Both in the selection and use of painting materials, or in the expression of painting language, there have been great changes and breakthroughs. In recent years, he has become one of the outstanding contemporary artists in his large-scale works, such as Daming style, Golden Stone, Home without Furniture, and so on. The geometric artistic language presented in his works combines the abstract artistic language of the West, the concept of structural deconstruction, the choice of Chinese furniture and architectural themes in the content of his works, emphasizing the layout of the picture and highlighting the interest of the combination of geometric figures. Over the past 30 years, Wang Huaiqing has been studying and focusing on creation, and has gradually become one of the representative performance artists in the history of Chinese art. His teacher, Mr. Wu Guanzhong, had a great influence on Wang Huaiqing's later painting style. The geometric structure and the concise black and white factors in his picture are closely related to his teacher's creation. In the 1950s and 1960s, Mr. Wu Guanzhong was enchanted by the beauty of the black wall and white tile unique to Jiangnan Water Township. He was deeply moved by the beauty, and incorporated the simple black-and-white geometric block structure of the Jiangnan architecture into his own picture. Form one's own unique formal language. In Wang Huaiqing's works, from the earliest seeking for deformation structure to the construction of Shaoxing's old garden, and then to the furniture deconstruction of Ming and Qing dynasties, his works broke the boundary of drawing frame and intervened into the expansion of plane with pure picture geometric language. Form their own unique expression. This paper is divided into five chapters: the first chapter is the interpretation of geometric structure modeling language of painting, mainly from the application of geometric modeling in early human painting and the embodiment of geometric modeling language in contemporary painting. The second chapter is the interpretation of Wang Huaiqing oil painting geometry structure, from his painting creation plane geometry symbol construction, pure color block symbol embodiment, symbol geometric symbol use these three aspects to begin to discuss; Chapter III highlights the geometric structure of Wang Huaiqing oil painting and the construction of modeling language, focusing on the black and white vertical form of the composition, color blocks between the two angles of space transmission; chapter four describes the unique form of Wang Huaiqing geometric structure, The fifth chapter discusses the inspiration of geometric structure to contemporary oil painting creation. It is a personal point of view on the function of geometric structure to the composition of the picture and the guidance of the form of the picture.
【學位授予單位】：西南大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：J213
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