谁选择谁—对话当代绘画性壁画创作中“画”与“墙”

发布时间：2018-06-18 17:04

本文选题：当代壁画 + 绘画性壁画　；参考：《中国美术学院》2013年硕士论文

【摘要】：当代壁画的创作研究，对壁画作品材料进行着多方面的拓展，体现了当今大美术的艺术观念，这无疑是有进步意义的。然而大量建筑壁画语言及造型方式与传统绘画性壁画艺术在本质上却渐行渐远，对于壁画的在建筑空间中的装饰作用强调过甚，大量的运用材料堆砌的壁画作品沦为仅仅是建筑“墙”的装饰和附庸，对壁画的独立审美性大打折扣。当代绘画性壁画创作将如何在新的时代找到生存的“墙”和建筑空间，以传承传统艺术为己任的当代壁画艺术家如何定位自己的壁画创作，是需要深思的问题。毫无疑问，没有当代绘画性壁画创作研究，就没有中国壁画的发展前景。文章试图通过对传统绘画性壁画的解读及现当代具有代表性的绘画性壁画特点与样式的分析、归纳，厘清当代绘画性壁画创作在体现艺术语言的个性化与取材的公众化上所表现出的艺术魅力，并对建筑“墙”的特定空间风格加以整理，理性地理解“画”与“墙”的交叉关系。本文分五个部分，第一章论述了文章选题的缘由，重点就当代绘画性壁画创作所面临的处境和争议进行了呈述；第二章就绘画性壁画的创作特征展开描述；第三章由绘画性壁画的样式与当代建筑的相互关系展开，并概括出绘画性壁画的两种风格在建筑空间中的具体应用，论述当代绘画性壁画作品作为公共艺术的一种其首要任务是提高公众审美情趣和改善公众视觉品质，作品既要美化建筑空间融入建筑空间风格，还需要融合进社会文化观念。第四章阐述了当代精神理念与文化指向是壁画创作者自身定位的重要内涵，并提出了两种创作思路的设想。第五章就画与墙的平等对话的必要性展开论述，着意于画家应拥有一道心中的“墙”。文章以辨证的观点来论述绘画性壁画的“画”与“墙”两个基本要素，，从就画与墙的各种争议中提出当代壁画创作应建立自己心中的“墙”的观点，用自我的创作精神找回属于自身的话语权。
[Abstract]:The study of contemporary mural painting has expanded the material of the mural works in many aspects, which embodies the artistic conception of the great art, which is undoubtedly of great significance. However, a large number of the language and modeling methods of the architectural murals and the traditional painting mural art are gradually increasing gradually, and the decorative role of the murals in the architectural space. A large number of mural works with material stacking are reduced to only the decoration and appendages of the architectural "wall", and the independence of the frescos is discounted. How can the contemporary paintings of contemporary paintings find the "wall" and the building space in the new era and how to determine the contemporary fresco artists who have inherited the traditional art as their own responsibility. There is no doubt that there is no future development of Chinese frescos without the research of contemporary painting murals. The article attempts to analyze the traditional painting murals and analyze the characteristics and patterns of the contemporary contemporary painting murals, and to clarify the creation of contemporary painting murals. To reflect the artistic charm of the personalization and collection of the artistic language, and to sort out the specific space style of the building "wall", and to rationally understand the cross relationship between the "painting" and "the wall".
This article is divided into five parts. The first chapter discusses the reasons for the topic selection, focuses on the situation and disputes of the contemporary painting mural creation, and the second chapter describes the creative features of the painting murals; the third chapter is based on the relationship between the style of painting murals and the contemporary architecture, and summarizes the painting wall. The specific application of the two styles of painting in the architectural space, the first task of the contemporary painting mural works as a public art is to improve the public aesthetic interest and improve the public visual quality. The works should not only beautify the architectural space into the architectural space style, but also integrate the social and cultural concepts. The fourth chapter expounds the contemporary era. The spiritual concept and cultural orientation are the important connotation of the fresco creator's own positioning, and put forward two ideas of creative thinking. The fifth chapter discusses the necessity of the equal dialogue between the painting and the wall, which means that the painter should have a "wall" in the heart.
The article discusses two basic elements of "painting" and "wall" in painting murals from a dialectical point of view. From the various controversies of painting and wall, it is suggested that contemporary fresco creation should set up the view of "wall" in his own heart and retrieve his own right of discourse with the spirit of self creation.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J218.6

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