【摘要】：中國(guó)是漆文化的發(fā)源地。我們的祖先經(jīng)過(guò)數(shù)千年對(duì)漆工藝的磨礪,摸索出了的豐富多彩的漆工藝形式,成就了中華民族輝煌的漆文化歷史,并給我們留下了無(wú)數(shù)的物質(zhì)文化遺產(chǎn)與精神文化遺產(chǎn)。隨著我國(guó)工業(yè)化、信息化的不斷完善和發(fā)展,漆畫也來(lái)到了一個(gè)嶄新的全球化的時(shí)代,呈現(xiàn)出了一個(gè)多元化的藝術(shù)舞臺(tái),原有的藝術(shù)形式、藝術(shù)內(nèi)容和藝術(shù)語(yǔ)言都在隨著時(shí)代的發(fā)展而逐漸發(fā)生了變化,更有新興的藝術(shù)形式在重新詮釋著人們對(duì)藝術(shù)的理解。 漆畫藝術(shù)經(jīng)過(guò)幾十年的發(fā)展,終于實(shí)現(xiàn)了從注重工藝性及裝飾性的實(shí)用性藝術(shù)到轉(zhuǎn)變?yōu)樽⒅貎?nèi)在審美及精神內(nèi)涵的純藝術(shù)范疇,并成為一個(gè)可供藝術(shù)家進(jìn)行藝術(shù)創(chuàng)作的獨(dú)立畫種。一批批漆畫藝術(shù)家們正在用手中的材料,思考著創(chuàng)作形式的轉(zhuǎn)變,并通過(guò)更多的努力完成更高層次的蛻變。 但是,以材料語(yǔ)言的表現(xiàn)為主要表現(xiàn)對(duì)象的現(xiàn)代畫種,更需揚(yáng)長(zhǎng)避短,發(fā)揮材料在漆畫藝術(shù)表現(xiàn)中的作用,積極探索肌理在漆畫表現(xiàn)中的作用。在漆畫中構(gòu)建一個(gè)具有強(qiáng)大特性和穩(wěn)定性的本體語(yǔ)言系統(tǒng)。最終通過(guò)材料語(yǔ)言的探索,將肌理的表現(xiàn)成為漆畫藝術(shù)表現(xiàn)的載體,達(dá)到審美意趣的提升。本文旨在通過(guò)淺顯的論述,闡明在漆畫創(chuàng)作過(guò)程中,關(guān)于材料語(yǔ)言中肌理的探索的重視,并注重肌理語(yǔ)言的內(nèi)在情感意趣的表達(dá)。
[Abstract]:China is the birthplace of lacquer culture. Our ancestors honed the lacquer process for thousands of years and found out the rich and colorful lacquer craft form, which made the Chinese nation glorious history of lacquer culture, and left us countless material and cultural heritage and spiritual cultural heritage. With the continuous improvement and development of China's industrialization and informatization, lacquer painting has also come to a new era of globalization, presenting a diversified art stage, the original art form, The content and language of art have changed with the development of the times, and the new art forms are reinterpreting people's understanding of art. After decades of development, the lacquer painting art has finally realized the change from practical art with emphasis on craftsmanship and decoration to a pure artistic category which emphasizes the inner aesthetic and spiritual connotation. And to become an artist for artistic creation of an independent kind of painting. A number of lacquer artists are using their materials to think about the changes in their creative forms and to achieve higher levels of transformation through more efforts. However, modern painting, whose main object is the performance of material language, should take advantage of its advantages and avoid weaknesses, play its role in the artistic expression of lacquer painting, and actively explore the role of texture in the performance of lacquer painting. Construct an ontology language system with strong characteristics and stability in lacquer painting. Finally, through the exploration of material language, the expression of texture becomes the carrier of artistic expression of lacquer painting, and achieves the promotion of aesthetic interest. The purpose of this paper is to expound the importance of the exploration of texture in the material language in the process of lacquer painting creation, and to pay attention to the expression of the inner emotional interest of the texture language.
【學(xué)位授予單位】：南昌大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J213.9

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 王萌;由攝影轉(zhuǎn)化為漆畫創(chuàng)作探析[D];揚(yáng)州大學(xué);2015年

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本文編號(hào)：2408735