我對版畫創(chuàng)作的思維方式的感知
發(fā)布時間：2019-03-19 19:04
【摘要】：藝術(shù)應(yīng)當(dāng)直指人心,不被技法所束縛,應(yīng)當(dāng)順應(yīng)自然之道,所謂過河棄船(筏喻者,法尚應(yīng)舍,何況非法[1])。一層境界應(yīng)為有目的的選材,純粹之筆。更高層境界,應(yīng)為隨性木現(xiàn),舍即是不丟,更接近禪意。武學(xué)中講陰陽、講柔順。柔順中和,是順應(yīng)中不斷改造,就像人在成長中要把性子藏起來順應(yīng)外界,但還要盡量減少對真性情的損失,保其本心,藏著性情真情不丟。繪畫亦是如此,我認(rèn)為高品位的版畫藝術(shù)家作畫的每一筆都只是情緒在版上的流動,從而達(dá)到靈性與物質(zhì)版的交流,意和境的交融,隨心所欲不逾矩。從而觀者便感受到物質(zhì)對心靈的記錄。試錯與偶然,整個作畫過程如一次旅行,有時是有目的的,有時是無目的的,錯就錯了,錯也不一定是錯,最后在不可控中控制,達(dá)到厚重和感人的感受。版畫具有很強的痕跡感,像是由時間凝結(jié)而成的固化物質(zhì)。而畫面所呈現(xiàn)的痕跡,也是讀者通過記憶到的諸多痕跡去理解;通過記憶的空間特征去理解。從而達(dá)到創(chuàng)作者的經(jīng)驗經(jīng)歷和欣賞者的經(jīng)驗經(jīng)歷的審美共鳴!詩和畫都是描述靈魂深處的期待與無奈,也可能是在描述幾世靈魂的經(jīng)歷,是自我與時間空間的對接。我認(rèn)為版畫的思維方式方法,其終極目標(biāo)是為了傳遞和表達(dá)自我的某種意境。要使繪畫過程有感覺,我們的生活也要像藝術(shù)一樣有感覺。要使作品看起來很大,心的格局就要很大,畫面才會有真實的張力。繪畫是自我由內(nèi)心向外化的滲透,藝術(shù)家是他藝術(shù)王國的王,王有王道順勢而發(fā)。先有情緒情感,再有想法,藝術(shù)就是藝術(shù)家不同時期對情感的記錄。
[Abstract]:Art should be directed to the hearts of the people, not bound by techniques, should conform to the way of nature, the so-called abandonment of ships across the river (raft metaphorical, the law should still give up, let alone illegal [1]). A level of boundary should be for the purpose of material selection, pure pen. Higher level realm, should be the appearance of casual wood, that is, do not lose, closer to Zen. In martial arts, Yin and Yang are emphasized and softness is emphasized. Obedience and neutralization is a constant transformation in conformity, just as one grows up to hide his nature and adapt to the outside world, but also to minimize the loss of his true disposition, to protect his true heart, to hide his true disposition and not to lose it. The same is true of painting. I think that every stroke of painting by high-grade printmaking artists is only the flow of emotion in the edition, thus achieving spiritual and physical communication, the blending of meaning and environment, and not exceeding the moment as desired. Thus the viewer will feel the material record of the mind. Trial and error and chance, the whole painting process such as a trip, sometimes purposeless, sometimes aimless, wrong is wrong, wrong is not necessarily wrong, in the end in the control of uncontrollable, to achieve heavy and touching feelings. Printmaking has a strong sense of trace, such as a solidified substance formed by the condensation of time. The trace of the picture is also understood by the reader through the memory of many traces; through the spatial characteristics of memory to understand. So as to achieve the aesthetic resonance of the experience of the creator and the experience of the appreciator! Both poetry and painting describe the expectation and helplessness in the soul, and may also describe the experience of several souls, which is the connection between self and time and space. I think that the ultimate goal of the way of thinking of printmaking is to convey and express some kind of artistic conception of oneself. To make the painting process feel, our life must also feel like art. To make the work look very big, the pattern of the heart must be very large, the picture will have the real tension. Painting is the infiltration of self from the heart to the outside. The artist is the king of his art kingdom. First there is emotion, then there is thought, art is the artist of different periods of emotional records.
【學(xué)位授予單位】：魯迅美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J217
本文編號：2443805
[Abstract]:Art should be directed to the hearts of the people, not bound by techniques, should conform to the way of nature, the so-called abandonment of ships across the river (raft metaphorical, the law should still give up, let alone illegal [1]). A level of boundary should be for the purpose of material selection, pure pen. Higher level realm, should be the appearance of casual wood, that is, do not lose, closer to Zen. In martial arts, Yin and Yang are emphasized and softness is emphasized. Obedience and neutralization is a constant transformation in conformity, just as one grows up to hide his nature and adapt to the outside world, but also to minimize the loss of his true disposition, to protect his true heart, to hide his true disposition and not to lose it. The same is true of painting. I think that every stroke of painting by high-grade printmaking artists is only the flow of emotion in the edition, thus achieving spiritual and physical communication, the blending of meaning and environment, and not exceeding the moment as desired. Thus the viewer will feel the material record of the mind. Trial and error and chance, the whole painting process such as a trip, sometimes purposeless, sometimes aimless, wrong is wrong, wrong is not necessarily wrong, in the end in the control of uncontrollable, to achieve heavy and touching feelings. Printmaking has a strong sense of trace, such as a solidified substance formed by the condensation of time. The trace of the picture is also understood by the reader through the memory of many traces; through the spatial characteristics of memory to understand. So as to achieve the aesthetic resonance of the experience of the creator and the experience of the appreciator! Both poetry and painting describe the expectation and helplessness in the soul, and may also describe the experience of several souls, which is the connection between self and time and space. I think that the ultimate goal of the way of thinking of printmaking is to convey and express some kind of artistic conception of oneself. To make the painting process feel, our life must also feel like art. To make the work look very big, the pattern of the heart must be very large, the picture will have the real tension. Painting is the infiltration of self from the heart to the outside. The artist is the king of his art kingdom. First there is emotion, then there is thought, art is the artist of different periods of emotional records.
【學(xué)位授予單位】：魯迅美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2015
【分類號】：J217
【相似文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前1條
1 史良;我對版畫創(chuàng)作的思維方式的感知[D];魯迅美術(shù)學(xué)院;2015年
，本文編號：2443805
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