【摘要】：中國(guó)山水畫的歷史源遠(yuǎn)流長(zhǎng),變革與創(chuàng)新是其系統(tǒng)發(fā)展的內(nèi)部動(dòng)因,傳統(tǒng)山水畫轉(zhuǎn)入當(dāng)代的一個(gè)重要信息即創(chuàng)作題材的當(dāng)代化。其中,梯田題材的山水畫的生發(fā),進(jìn)一步豐富了中國(guó)山水畫的內(nèi)容及精神。近年增速的城市化進(jìn)程,覆蓋了昔日的良田,但覆蓋不了人們對(duì)鄉(xiāng)野之趣的追求,梯田作為“人化的自然”,是人們改造自然、解放生產(chǎn)的產(chǎn)物,其自然、天真之趣,吸引了現(xiàn)當(dāng)代畫家援之入畫。 本文共分三章探討梯田題材山水畫：第一章,通過對(duì)現(xiàn)當(dāng)代山水畫創(chuàng)作狀況的分析,探尋梯田山水成為一種較普遍題材的原因及其流行的意義,揭示其出現(xiàn)的文化背景；第二章,通過具體、形象、可感的圖例進(jìn)行比較、分析,歸納、整理、總結(jié)出梯田山水與傳統(tǒng)主流山水有什么區(qū)別或不同,它有什么內(nèi)涵精神,按照作品風(fēng)格對(duì)梯田題材山水畫進(jìn)行分類總結(jié),并試圖找出不同類型梯田山水畫的創(chuàng)作路線；第三章,主要講述筆者在創(chuàng)作過程中遇到的問題及解決的辦法,既需要繼承傳統(tǒng)又要面對(duì)新的現(xiàn)實(shí)生活,勇于嘗試與探索。我在創(chuàng)作過程中,才發(fā)現(xiàn)中國(guó)畫線條表現(xiàn)的靈活性與重要性,考慮到梯田結(jié)構(gòu)的形式美,我主要用到了傳統(tǒng)山水技法中的勾法來塑造線條,將中鋒與側(cè)鋒兼用,解決梯田形式美感的結(jié)構(gòu)處理,行筆時(shí)要注意把握運(yùn)筆的起承轉(zhuǎn)折。此外,梯田題材山水畫雖然已有一些人進(jìn)行創(chuàng)作,但還不夠成熟,還有很多值得挖掘的筆墨語言與表現(xiàn)形式值得我們繼續(xù)探索。
[Abstract]:The history of Chinese landscape painting has a long history. Reform and innovation are the internal reasons for its systematic development. Among them, terrace theme landscape painting hair, further enriched the content and spirit of Chinese landscape painting. The process of urbanization in recent years has covered the good fields of the past, but it does not cover people's pursuit of the interests of the countryside. Terraces, as "humanized nature", are the products of people's transformation of nature and liberation of production, and their natural and naive interests. It attracted the help of modern and contemporary painters. This article altogether divides into three chapters to discuss terrace subject matter landscape painting: the first chapter, through the analysis to the present and contemporary landscape painting creation condition, explores the terrace landscape to become a kind of popular theme reason and the popular significance, reveals its cultural background; The second chapter, through the concrete, the image, the sense legend carries on the comparison, analyzes, induces, arranges, summarizes the terrace landscape and the traditional mainstream landscape has any difference or the difference, it has what connotation spirit, According to the style of the works, the landscape paintings of terrace theme are classified and summarized, and try to find out the creative route of different types of terrace landscape paintings; In the third chapter, the author mainly describes the problems encountered in the process of creation and the solutions, which need to inherit the tradition and face the new real life, and dare to try and explore. In the process of my creation, I discovered the flexibility and importance of the performance of Chinese painting lines. Considering the formal beauty of terrace structures, I mainly used the hook method in the traditional landscape techniques to shape the lines, using both the center front and the side front. To solve the structural treatment of terrace form aesthetic sense, we should pay attention to the starting point of carrying pen. In addition, terraced landscape painting has been created by some people, but it is not mature enough. There are many words and expressions worth excavating.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J212

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王振中;中國(guó)畫教學(xué)40年[J];貴州大學(xué)學(xué)報(bào)(藝術(shù)版);2002年03期

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本文編號(hào)：2408690