【摘要】：筆者參與上海自然博物館的科學(xué)繪畫項目已經(jīng)接近17個月。隨著對科學(xué)繪畫研究工作的逐步深入，對這一課題有了一些體會和感想。 科學(xué)繪畫兼具科學(xué)性與藝術(shù)性，，在博物館、科普讀物、科學(xué)知識教材、專業(yè)科學(xué)研究人員參考書籍等中均可以看見科學(xué)繪畫的身影。經(jīng)過這次項目的實踐，筆者認識到科學(xué)繪畫中所體現(xiàn)的科學(xué)性與藝術(shù)性并不是完全對等的，它們之間的關(guān)系取決于科學(xué)繪畫的用途以及服務(wù)對象。當(dāng)科學(xué)繪畫用于專業(yè)類的科學(xué)書籍時，其中的科學(xué)性就要重點突出，為了表達畫面的某個科學(xué)性要點，有時可以放棄一些藝術(shù)的成分。而當(dāng)科學(xué)繪畫用于博物館、科普雜志等時，因服務(wù)對象大多是沒有良好科學(xué)研究背景的普通大眾，故而在科學(xué)性無誤的前提下，可以對藝術(shù)性進行適當(dāng)?shù)纳A。根據(jù)這次項目的實踐，本文所討論的重點內(nèi)容將圍繞著博物館展示中的科學(xué)繪畫而言，所重點討論的服務(wù)對象也是普通群眾，他們對于畫面有著普遍的審美需求，要運用平面設(shè)計、色彩構(gòu)成等方法使得畫面更符合普通大眾的審美模式，這樣也便于普通觀者的信息吸收，起到科學(xué)知識普及的作用。 本文通過對科學(xué)繪畫的優(yōu)勢與作用等內(nèi)容的分析、總結(jié)，再加上科學(xué)繪畫項目中，筆者獨立完成的70多件實踐作品，從中認識到，完成一幅符合要求的科學(xué)繪畫，首先應(yīng)當(dāng)了解科學(xué)繪畫的用途與服務(wù)對象的需求，隨后在理論層面去整理材料、梳理脈絡(luò)，再到技術(shù)層面對畫面進行平面解構(gòu)、給每個創(chuàng)作形式一個科學(xué)依據(jù)的同時突出重點信息，還要做到“理解的繪畫”。這些都是表達科學(xué)繪畫的科學(xué)性和藝術(shù)性，并在其中找到平衡的關(guān)鍵，也只有這樣才能畫出一幅滿足各類人群需求的科學(xué)繪畫。
[Abstract]:The author has been involved in the science painting project of Shanghai Museum of Nature for nearly 17 months. With the gradual deepening of scientific painting research, there are some experiences and feelings about this subject. Scientific painting is both scientific and artistic. It can be seen in museums, popular reading materials, textbooks of scientific knowledge, reference books for professional scientific researchers and so on. Through the practice of this project, the author realizes that the scientific nature and artistry embodied in scientific painting are not completely equivalent, and the relationship between them depends on the use of scientific painting and the object of service. When scientific painting is used in professional science books, the scientific nature should be emphasized. In order to express some scientific points of the picture, some artistic elements can be abandoned sometimes. When scientific painting is used in museums, popular science magazines and so on, because the object of service is mostly ordinary people who have no good scientific research background, they can sublimate artistry properly on the premise of being scientific and correct. According to the practice of this project, the key content discussed in this paper will revolve around the scientific painting in the exhibition of the museum, and the service object will also be the ordinary people, who have a universal aesthetic demand for the picture. It is necessary to use graphic design, color composition and other methods to make the picture more in line with the aesthetic model of the general public, which is also convenient for the ordinary viewers to absorb information and play a role in popularizing scientific knowledge. Based on the analysis of the advantages and functions of scientific painting, this paper sums up more than 70 practical works which the author has independently completed in the project of scientific painting, and realizes that a scientific painting that meets the requirements is completed. First of all, we should understand the use of scientific painting and the needs of service objects. Then we should sort out the materials at the theoretical level, sort out the context, and then deconstruct the picture on a plane at the technical level. Give each creative form a scientific basis at the same time highlight key information, but also to achieve "understanding painting." These are the key points to express the scientific and artistic nature of scientific painting and find a balance among them. Only in this way can we draw a scientific painting that meets the needs of all kinds of people.
【學(xué)位授予單位】：上海大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205

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