【摘要】：作為一種繪畫的語言形式，灰色是藝術(shù)家詮言釋義繪畫的媒介，被視為一種有特定品格的色彩，畫家的情感借由灰色主觀性發(fā)揮于藝術(shù)創(chuàng)作中；而這種灰色氛圍的整體性，也是建立于東方人的文化思想精髓之上的�；疑Z言經(jīng)過深層形式的移植，色彩語言的建構(gòu)根據(jù)時代的變化而改變，除了帶有鮮明的時代特征以外，還與傳統(tǒng)的藝術(shù)體質(zhì)、藝術(shù)家的情感素養(yǎng)和生活理想以及審美價值密不可分。畫家運用灰色處理細膩的情感、畫面中灑脫的筆觸和變化莫測的韻律感，還有色彩灰度化的含彩意境等等，并在創(chuàng)作中表現(xiàn)出一種淡漠而有調(diào)控性的傷感情調(diào)。藝術(shù)家在創(chuàng)作中應(yīng)該追求灰色的本質(zhì)因素,而不是停留于物象表面的色彩形式,并且更應(yīng)該注重繪畫創(chuàng)作精神意義的表現(xiàn),在作品中體現(xiàn)出中國傳統(tǒng)文化的博遠精髓。 水是水彩畫的靈魂，水彩畫是用水調(diào)和水彩顏料從而自然會減弱色彩的濃度，實現(xiàn)水彩畫畫面水韻流暢的灰彩效果。在國畫中的墨法或是水法，也是用水分的多少調(diào)節(jié)用筆的輕重力量來調(diào)配墨色的黑白灰變化。所以，中國的畫家迅速地把西方的水彩藝術(shù)的語言和中國具有悠久歷史的淡墨畫文化積淀融為一體。細膩豐富的五色有時往往會削弱這色彩的想象空間。而這種激發(fā)觀賞者無限遐想空間的藝術(shù)效果正是灰色的一種特殊魅力，也是中國水彩畫家不斷追求的情感素養(yǎng)之一。此外，，在主觀意象上，灰色系也形成一種沉寂、肅然的視覺感受進而產(chǎn)生一種溫雅泊淡的審美意味。這與人文思想所推崇的靜、虛、恬、淡之至存在著相通之處。所以，中國水彩畫中水與色在畫面效果和心理觀感上都傳達出與中國畫中的人文意識和墨色審美產(chǎn)生共意。 在水彩畫藝術(shù)中品擇灰色是一個涉及面很廣的問題，藝術(shù)創(chuàng)作是以個人繪畫形式來完成的。要探討水彩畫創(chuàng)作中的灰色藝術(shù)的情感世界。這樣才能從最直接的角度去認識和把握色彩藝術(shù)中的灰色情感形式。水彩畫家對灰色的品擇符合東方人對詩情畫境的灰色追求、灰色的情感意境鏈接藝術(shù)思維表達了慰藉蘊藏綿密的東方審美要求并且建立起灰色在水彩畫創(chuàng)作中的重要性。在當下灰色的創(chuàng)作語言可以更加深刻的切入社會情素，構(gòu)建出個性化的話語，同時灰色的內(nèi)涵可以除去心靈浮華，得到精神的凈化。
[Abstract]:As a language form of painting, grey is the medium of the artist's interpretation, and is regarded as a kind of color with special character. The painter's emotion is brought into play by the grey subjectivity in the artistic creation. The integrity of this gray atmosphere is also based on the essence of the Oriental culture. Grey language is transplanted through deep forms, and the construction of color language is changed according to the changes of the times. In addition to the distinctive features of the times, it is also related to the traditional artistic constitution. The artist's emotional accomplishment, life ideal and aesthetic value are inseparable. The painters use the delicate emotion of grey processing, the free and easy stroke and the inscrutable rhythm in the picture, and the color grayscale with the color artistic conception, etc., and show a kind of indifferent and regulated hurt emotion tone in the creation. The artist should pursue the essential factor of gray, not the color form on the surface of the object, and pay more attention to the expression of the spiritual meaning of the painting creation, and embody the profound essence of the Chinese traditional culture in his works. Water is the soul of watercolor painting, and watercolor painting is a mixture of water and watercolor pigment, which naturally weakens the color concentration, and realizes the watercolor painting with smooth water rhyme and gray color effect. In traditional Chinese painting, ink or water is also used to adjust the strength of the pen to adjust the black and white changes of ink. Therefore, Chinese painters quickly integrated the language of western watercolor art with the culture of Chinese painting with a long history. Delicate and rich five colors sometimes weaken the color of the imagination space. This kind of artistic effect that arouses the viewer's infinite reverie space is a special charm of gray and one of the emotional qualities pursued by Chinese watercolor painters. In addition, on the subjective image, grey color system also forms a kind of silence, and then produces a gentle and elegant aesthetic sense. This has something in common with the quiet, empty, peaceful, and light that humanistic thought adores. Therefore, water and color in Chinese watercolor painting convey the same meaning with the humanistic consciousness and ink aesthetic in Chinese painting in terms of picture effect and psychological perception. In watercolor art, gray-selection is a very wide problem, and artistic creation is completed in the form of individual painting. It is necessary to explore the emotional world of grey art in watercolor painting creation. Only in this way can we understand and grasp the grey emotion form in color art from the most direct angle. Watercolor painters' selection of gray is in line with the oriental's grey pursuit of poetry and painting, and the grey emotional mood link artistic thinking expresses the comforting Oriental aesthetic requirements and establishes the importance of grey in watercolor painting creation. In the present grey writing language can be more deeply cut into the social elements, to construct a personalized discourse, and at the same time, the connotation of gray can remove the splendor of the mind and get the purification of the spirit.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J215

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