我对版画创作的思维方式的感知
发布时间：2019-03-19 19:04
【摘要】：艺术应当直指人心,不被技法所束缚,应当顺应自然之道,所谓过河弃船(筏喻者,法尚应舍,何况非法[1])。一层境界应为有目的的选材,纯粹之笔。更高层境界,应为随性木现,舍即是不丢,更接近禅意。武学中讲阴阳、讲柔顺。柔顺中和,是顺应中不断改造,就像人在成长中要把性子藏起来顺应外界,但还要尽量减少对真性情的损失,保其本心,藏着性情真情不丢。绘画亦是如此,我认为高品位的版画艺术家作画的每一笔都只是情绪在版上的流动,从而达到灵性与物质版的交流,意和境的交融,随心所欲不逾矩。从而观者便感受到物质对心灵的记录。试错与偶然,整个作画过程如一次旅行,有时是有目的的,有时是无目的的,错就错了,错也不一定是错,最后在不可控中控制,达到厚重和感人的感受。版画具有很强的痕迹感,像是由时间凝结而成的固化物质。而画面所呈现的痕迹,也是读者通过记忆到的诸多痕迹去理解;通过记忆的空间特征去理解。从而达到创作者的经验经历和欣赏者的经验经历的审美共鸣!诗和画都是描述灵魂深处的期待与无奈,也可能是在描述几世灵魂的经历,是自我与时间空间的对接。我认为版画的思维方式方法,其终极目标是为了传递和表达自我的某种意境。要使绘画过程有感觉,我们的生活也要像艺术一样有感觉。要使作品看起来很大,心的格局就要很大,画面才会有真实的张力。绘画是自我由内心向外化的渗透,艺术家是他艺术王国的王,王有王道顺势而发。先有情绪情感,再有想法,艺术就是艺术家不同时期对情感的记录。
[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.
【学位授予单位】：鲁迅美术学院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J217
本文编号：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.
【学位授予单位】：鲁迅美术学院
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J217
【相似文献】
相关硕士学位论文 前1条
1 史良;我对版画创作的思维方式的感知[D];鲁迅美术学院;2015年
，本文编号：2443805
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2443805.html
