论现代漆画图式与质材的融汇表现

发布时间：2019-03-20 20:36

【摘要】：现代漆画自20世纪40年代产生并发展起来,作为一门新兴的画种,还非常年轻,在语言探索到图式形成都不完善。没有形成自身的图式的,其图式必然是从其它画种“拿来”的,——可以说,界内连漆画图式的建立这一意识都还未树立更遑论图式的建构了。在语言质材上就更不用说了,多少画者都会痴迷于材料,但他们可能都忽略了自己作品中“图式到质材的融汇”的这一重要过程,而这一过程的学理内容的丰富性让人更是大吃一惊,我从我自身的创作中也发现了此一惊喜。以自身创作的漆画作品为例来论述图式与质材是如何融汇的,它们两者融汇之前的磕磕碰碰使我的创作进入了这一探索。“图式”与“质材”本身是两个独立的艺术范畴,当它们在漆画中相遇时,必然产生碰撞,在这碰撞中取长补短,达到相辅相成的效果,它们的相融,可以是全然符合,也可以是局部符合。图式的审美与质材语言的契合中,图式始终是灵魂,而漆画语言的媒介其实就是重要的图式,即“隐图”;而图与质的匹配——遒劲,二者的融汇可谓是“天人合一”的恰到好处。我这里既然提出了“图式问题”,然后也找到了解决办法——“图式的线性表达”。当图式线性满足了漆画语言:以漆为主,包括一些很丰富的硬质材料,每一种语言都自成特色。——产生的结果:因为图式建立以后,漆画语言因此得到了极大的自觉,得到了美学的丰富和充足的表达。当漆画语言单一的时候也许可以不考虑“图式问题”,但,一旦进入更深层次的思考与创作时不得不提出“图式”的重要性。可以这样直白地讲:你的作品不需要图式的,这个问题也就不需要提出,凡是有丰富材料,有需要图式或图形来整合的,“图式问题”的提出是必然的命题。在我的画作里,就必须提出“图式问题”,以“图式的线性表达”来融汇我的画面效果。
[Abstract]:Modern lacquer painting came into being and developed in the 1940s. As a new kind of painting, it is still very young, and it is not perfect when it comes to the formation of schemata in language exploration. What does not form its own schema, its schema must be drawn from other types of painting,-it can be said that the concept of the establishment of the painting pattern has not yet been set up, not to mention the construction of the schema. Not to mention in terms of language quality, many painters will be obsessed with material, but they may have ignored the important process of "blending schema to material" in their works. The richness of the academic content of this process is even more surprising, and I also found this surprise in my own creation. Taking the lacquer painting works created by myself as an example, this paper discusses how the schema and the material blend together. The bumps before the integration of them have brought my creation into this exploration. "Schema" and "material" themselves are two independent artistic categories. When they meet in lacquer painting, they will inevitably collide. In this collision, they will learn from each other and complement each other in order to achieve complementary effects, and their fusion can be completely in line with each other. It can also be a partial coincidence. In the combination of schema aesthetics and material language, schema is always the soul, and the medium of lacquer painting language is actually the important schema, that is, "hidden map". And the match between the picture and the quality-powerful, the fusion of the two can be said to be the "unity of heaven and man" just right. Since I put forward "schema problem" here, I also found a solution-"linear expression of schema". When schemata are linear enough to satisfy lacquer language: lacquer-based, including some very rich hard materials, each language has its own characteristics.-the result: since the schema was established, the lacquer painting language has been greatly conscious of itself. Get the rich and sufficient expression of aesthetics. When the lacquer painting language is single, it may be possible not to consider the "schema problem", but once it enters a deeper level of thinking and creation, it has to put forward the importance of the "schema". To put it bluntly: your work does not need schemata, this problem does not need to raise, where there are rich materials, there is a need for schema or graphics to integrate, the "schema problem" is an inevitable proposition. In my paintings, I have to put forward "schema problem", "linear expression of schema" to merge my picture effect.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213.9

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