| 从十九世纪末东方水彩画在上海开端普遍流传到如今,也已有100余年。跟着社会和时期的赓续成长它在我国阅历了分歧的汗青阶段,经由几代画家的艰难尽力,曾经积聚了很多名贵的经历,获得了史无前例的造诣。跟着时期的成长,我们可以慢慢看到中国水彩画曾经解脱了原本的局限,从小幅到年夜幅,从单一的表示情势到丰硕的表示手段,从对客不雅的模拟到客观的发明,极年夜地加强了水彩画的表示力,拓展了水彩画的功效,使水彩画既能敏捷反应对象的情味,又可以深刻刻画社会生涯的各个方面,成为自力的富有奇特艺术魅力和审美价值的画种。然则我们也应当同时看到水彩画传统画材和技法的特别性和这类特别性所带来的必定局限性。时期在赓续提高和成长跟着画材和技法的赓续提高和改进,水彩的局限性获得响应处理,给现代水彩画成长带来契机和新界说。本文倡导强调主体精力和画面后果的主要性,作为艺术实质的主体精力不该该在画种眼前妥协,画家想表达的画面后果异样也不该该受画种资料的限制和约束,现代水彩画应当打破原有过火强调“水味”和“通明性颜料”的界定轨则。完成媒材、情势、技法等的变更。倡导艺术实质的精力和多元化现代水彩绘画的可行。 Abstract: From the end of nineteenth Century, the Oriental watercolor painting in Shanghai began to spread to the present, it has been more than 100 years. Along with the society and the times of the continuously growing it in our country has experienced different stages of history, through several generations of artists of hard efforts, has been accumulated a lot of valuable experience, obtained the unprecedented achievement. With the growth of the period, we can see the Chinese watercolor painting has freed the original limitations, from small to large, from a single representation of the form to a fruitful means, from the objective of the simulation to the objective of the invention, greatly enhance the water color, expand the effectiveness of watercolor painting, watercolor painting can not only reflect the charm of the human, but also a unique artistic charm and aesthetic value of painting. However, we should also see the special nature of the traditional painting materials and techniques and the certain limitations of this kind of special nature. Period in continuously improve and grow along with the painting materials and techniques continuously improve, watercolor limitations for response to treatment and to the modern watercolor painting growth brings opportunity and the new territories. This paper advocates emphasize body energy and picture consequences, strange consequences as the essence of art the main energy should not in the picture in front of the compromise that the artist wants to express the picture should not the subject to data limitations and constraints of painting and modern watercolor painting should break the original overemphasizing the "water" and "transparent pigment" definition of rail is. Complete media material, situation, techniques, etc.. Advocate the essence of the art and the feasibility of diversified modern watercolor painting. 目录: 摘要 3-4 Abstract 4 导言 6-7 第一章 绪论 7-9 1.1 探讨目的和意义 7 1.2 相关概念的梳理和界定 7-9 第二章 水彩画发展概述 9-14 2.1 水彩画在西方的产生和发展 9-10 2.2 水彩画在中国的传播和发展 10-14 第三章 水彩画材料和技法的发展演变 14-19 3.1 材料的发展 14 3.2 技法的演变 14-18 3.3 当代水彩画定义的思考 18-19 第四章 从画面效果和艺术观念上看中国当代水彩画 19-22 4.1 中国当代水彩画发展中的尴尬时期 19 4.2 材料性质和语言特征对画面效果的抑制 19-20 4.3 画种和技术层面的滞留给画面效果带来的弊端 20-22 第五章 关于中国当代水彩艺术语言和艺术本质的思考 22-25 5.1 中国当代水彩艺术语言存在的边缘化和多元化 22-23 5.2 艺术的本质主体精神的重要性 23-25 余论（引申与思考） 25-26 参考文献 26-27 图录 27-28 后记 28 |
