“龙井茶趣”主题扇面绘画创作报告

发布时间：2019-05-28 04:30

【摘要】：扇面绘画与“龙井茶趣”的融合,绝非偶然,首先在文化观念上具有同一性,其次两者在审美理念上具有相通性,扇面形制的精致小巧格调与有着江南诗性化书卷气的龙井茶不谋而合。在扇面创作中融入西湖龙井茶文化,越加显示茶禅一味和茶画一体的独特魅力,这是我对两者跨学科的大胆尝试。富有意趣的“龙井茶”就诞生在写满江南诗话的杭州,透露出杭州人的追求自然的审美情趣,造就了江南特有的文化气韵。在我看来茶如人生,虽不能折射出全部的人生意义,但清茶悠悠,荡漾着苦涩和甘甜,沉浮着世事和沧桑,缥缈着岁月和情愁,于是乎漫漫人生之路凝聚成一杯清茶,透彻而有韵味,正如一幅淡雅的水墨扇面画。茶趣和琴棋书画都是古代文人生活的重要组成,也是现代人追求的品质生活。茶事绘画的作品数不胜数,但绝大部分都是直接描绘品茶的事件和场景,是艺术家的主观感受,常常遗失茶背后所承载的更深层次的文化内涵。而本文以“龙井茶趣”为主题,并贯穿于整个绘画创作过程,但是,核心是“趣”字所赋予的更具丰富而不可言传的“韵”。画中的“趣”,一是体现了绘画作品本身的视觉与情感魅力所承载的审美情趣;二是“禅茶一味”所涵盖的精神文化思想,两者相辅相成构成的一种新的情趣。在创作中,“龙井茶趣”主题由扇面画所承载是从中国传统美学角度对茶文化进行探究,把茶文化作为一种物质媒介提升到绘画艺术层面,并沿袭传统中国绘画的笔墨规律,将之转换为扇面绘画的视觉形式而获取新的灵感源泉。创作中要做的不仅仅在单纯的啜饮之后,而是把身体感观经验抽离转化为一种视觉上的审美记忆,并把这种记忆逐渐演化成人与茶的一种精神交流行为,从中感受中国传统文化脉络中味觉与视觉享受而引发笔者所身处的地域性文化思考。“龙井茶趣”主题扇面绘画创作作品六幅,由俩幅创新性主体画和四幅传统折扇面组成,而俩幅主体画在形制和尺幅上做了创新性的改变,俩幅主体画200CM×160CM镜框形式展出,六幅小幅以册页呈现。“龙井茶趣”扇面绘画创作中采用了文献研究法,在突破传统扇面绘画的形式语言上做出了努力;创作探索中运用调查研究法、比较研究法、案例研究法等和历史分析法,以宋代扇面绘画的精神思想为切入点,研究扇面绘画与时俱进的时代气息;在研究扇面绘画的起源时从历史学、文化学、图像学的角度研究中国古代扇面绘画,依照历史脉络对其发展进行系统梳理以及美学价值上的讨论。在对扇面绘画的不同风格研究时运用比较研究法,从文化的时代性进行对比。对同一时代不同流派影响下形成的不同扇面绘画形式语言的独特形式,充分发挥水墨韵味、章法和材料美学的自然,在质朴中寻找扇面绘画的美学品味,并通过对宋及宋之前扇面画的意境与品格分析和归纳,在创作中表现出的雅、静、淡的美感,并围绕“雅”字进行理论研究和创作实践。
[Abstract]:The integration of fan-surface painting and "Longjing Tea" is by no means an accident. First, it has the identity in the concept of culture. In the fan-face creation, the combination of the West Lake Longjing tea culture, the more the unique charm of the tea-and-Zen-style and the tea painting, is a bold attempt to cross-discipline the two. The rich "Longjing tea" is born in Hangzhou, which is written with the poetry of the south of the Yangtze River, and revealed that the pursuit of the natural aesthetic interest of the Hangzhou people has made the unique culture and charm of the South of the South. In my opinion, the tea, such as life, can not reflect all the meaning of life, but the tea of the Qing Dynasty is long, the bitter and bitter and sweet, the floating world and the vicissitudes, the time and the worry, in the way of the whole life road to a cup of clear tea, thorough and romantic, As a light, water-and-ink fan. Tea and chess and calligraphy are an important component of the life of the ancient literati, and it is the quality and life of the modern people. The number of the works of the tea-matter painting is numerous, but most of them are the events and the scene of the direct drawing of the tea, which is the subjective feeling of the artist and often loses the deeper cultural connotation carried on the back of the tea. The "Longjing Tea" is the subject of the whole painting, but the core is the more rich and unspeakable "rhyme" given by the "interest". The "interest" in the painting, one is the aesthetic sentiment carried by the visual and emotional appeal of the painting work itself; the other is the spiritual and cultural thought covered by the "Meditation of Chancheng", and the two mutually reinforcing forms a new interest. In the creation, the "Longjing Tea" theme is carried from the traditional Chinese aesthetic angle to study the tea culture, and the tea culture is promoted to the painting artistic level as a material medium, and the pen-ink law of the traditional Chinese painting is followed. Convert it to the visual form of fan-surface painting to get a new source of inspiration. In the creation, it is not only after the pure drink, but the experience of the body feeling is transformed into a visual aesthetic memory, and the memory is gradually evolving into a kind of spiritual communication behavior of the adult and the tea, From which the taste and visual enjoyment in Chinese traditional culture are felt, and the regional cultural thinking that the author is in. The "Longjing Tea" theme fan-surface painting works six, consisting of two innovative main pictures and four traditional folding faces, and the two main body pictures are creative changes on the form system and the scale, and the two main body pictures are displayed in the form of a 200CM-160 CM frame, and the six small images are presented in a book page. The author uses the literature research method in the fan-surface painting creation of Longjing Tea, and makes efforts to break through the formal language of the traditional fan-face painting, and uses the research method, the comparative research method, the case study method and the like and the historical analysis method in the creative exploration, and takes the spirit thought of the fan-face painting in the Song Dynasty as the starting point, This paper studies the time of the fan-surface painting with the times, and studies the Chinese ancient fan-surface painting from the angle of history, culture and image when the origin of the fan-surface painting is studied. In the study of different styles of fan-surface painting, the comparative study was applied to compare the times of the culture. the unique form of the different fan-surface painting formal languages formed under the influence of different schools in the same era is given full play to the natural of the water-ink charm, the nutation method and the material aesthetics, and the aesthetic taste of the fan-surface painting is found in a simple and simple manner, Through the analysis and induction of the artistic conception and character of the fan-face painting before and after the Song and Song Dynasties, the elegant, static and light aesthetic feeling represented in the creation, and the theoretical research and creative practice around the "Jaya" characters.
【学位授予单位】：浙江理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212

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