【摘要】：本論文從不同角度切入繪畫筆觸這一微觀的審美元素，通過分析與探究，以期看清在描繪自然萬象時這一重要的繪畫概念沿革。在層層剖析的過程中，讓我們認(rèn)識到水墨筆觸博大精深的文化淵源，和這一獨(dú)特繪畫門類豐富多姿的面貌。在近百年來，筆墨深厚的藝術(shù)礦藏深刻影響了我們對水彩藝術(shù)的學(xué)習(xí)。因其材料媒介的相似性，多有對其二者之間技術(shù)的比較，如不厘清覆蓋在兩者之上的厚重文化理念的隔閡，，極易發(fā)生對兩者不同審美價值追求的混淆。這樣的混淆全然離不開對筆觸價值深入的解讀。 因而在學(xué)習(xí)水彩的過程中，對材料技術(shù)的深入了解，關(guān)系到最終畫面?zhèn)鬟_(dá)的審美判斷。筆墨精神這一傳統(tǒng)文化的精髓也正是從“一畫”之始，造就了全然相異于西方水彩畫的意趣。了解這一點(diǎn)，看清并深切感受筆觸這一藝術(shù)語言的精魂，在溝通雙方認(rèn)知差異的隔膜中起到的不可估量的聯(lián)結(jié)作用，既可為水彩的發(fā)展增添更多的表現(xiàn)可能，也可以通過對精深的筆墨趣味的深入研究，找出水彩畫融入東方筆墨情趣的蹊徑。以此作為我們身處現(xiàn)當(dāng)代文化語境中，堅定地深植自身傳統(tǒng)，從容應(yīng)對紛雜的多元文化沖擊而憑靠的精神砥柱，并充滿自信地開創(chuàng)出屬于自己的一片天地。
[Abstract]:In this paper, the micro-aesthetic element of painting stroke is cut into from different angles, and through the analysis and exploration, we hope to see the important evolution of painting concept in depicting natural vistas. In the process of layer-by-layer analysis, let us realize the extensive and profound cultural origin of ink and ink brushwork, and the rich and colorful appearance of this unique painting category. In the past 100 years, the deep art deposits of ink and pen have deeply influenced our study of watercolor art. Because of the similarity of the material media, there are many technical comparisons between them, such as not clarifying the estrangement of the thick cultural ideas that cover the two, it is easy to confuse the pursuit of different aesthetic values between the two. Such confusion cannot be separated from an in-depth interpretation of the value of the stroke. Therefore, in the process of learning watercolor, the in-depth understanding of material technology is related to the aesthetic judgment conveyed by the final picture. The spirit of ink and pen, the essence of traditional culture, is from the beginning of "a painting", creating a completely different from the western watercolor painting interest. Knowing this point, seeing and deeply feeling the soul of the artistic language of pen touch, and the inestimable connection in the gap between the cognitive differences between the two sides, can not only add more performance to the development of watercolor, but also add more possibilities to the development of watercolor. It is also possible to find out the way of watercolor painting into the oriental ink through the deep study of the profound interest of pen and ink. In the context of modern and contemporary culture, we are firmly rooted in our own tradition, and rely on the spirit of coping with the impact of a variety of multiculturalism, and create a world of our own with full of self-confidence.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J215

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 孫桂英;;談“骨法用筆”[J];美術(shù)大觀;1998年02期

2 張濤;;筆觸與肌理[J];美術(shù)教育研究;2011年05期

3 聞一多;匡齋談藝[J];美術(shù)研究;1986年04期

4 郎紹君;論筆墨[J];美術(shù)研究;1999年01期

5 呂成喜;;隨意寫形 自心通神——關(guān)于中國畫形與神的隨想[J];美術(shù)大觀;2008年07期

6 李世南;;中國畫的中心——筆墨[J];中國書畫;2003年11期

7 高峻;;混合的面孔——?dú)W洲藝術(shù)家瑪琳·杜馬斯作品觀感[J];北方美術(shù);2003年03期

8 孫寧;懷斯繪畫的詩性[J];文藝研究;2004年04期

9 吳永強(qiáng);;繪畫中的筆觸與材質(zhì)[J];文藝研究;2007年08期

10 符祥康;;談王肇民水彩藝術(shù)[J];文藝爭鳴;2008年02期

本文編號：2452843