色彩在中国画艺术语言中的表现原则:表现方式与表现模式

Weike Wang
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引用次数: 0

摘要

本文旨在探讨色彩作为中国现代绘画的一种绘画原则的方法和模式。本文致力于探讨绘画艺术语言研究的实际问题。在中国艺术史上,它有几种表现形式。然而,其中一个关键主题是色彩作为当代美术的核心绘画原则的作用。研究色彩在绘画中的作用是基于对艺术品的形式和构图塑性特征的分析。同时,在解读特定作者的艺术符号和象征时,色彩是一个重要因素。从艺术语言中选择色彩和其他一些元素,与中国传统艺术体系对现代化实践的影响有关。在许多专业研究中,我们可以看到一种观点,即色调和色彩解决方案对证实作品的艺术意象及其思想和美学意义的实际意义。方法论。对于来源的分析,我们采用了比较分析的方法和类型学的方法。视觉来源的分析使用方法论,形式,组成和比喻的风格分析。结果。在中国现代研究中,色彩问题是一个完全独立的领域,对于分析美术的演变具有普遍的重要性;2) 情感具象,其中的中心位置被色彩的感知和对作品的符号和象征的解释所占据。在第一种方法的框架内,三种研究模式占主导地位:1)具象和艺术模式,其特征是色彩在作者风格理念的框架内变化的能力;2) 符号模型将艺术家的注意力集中在文化和历史参考上;3) 装饰具象模型将色彩问题定位为色彩形态问题,以及传统装饰技术与油画方法的结合。在第二种方法的框架内,符号-情感和语义-情感模型是主要的。第一个模型将颜色表示为作者符号空间的一个因素。第二个模型是一个工具,用于研究作为手语艺术语言一部分的颜色。这种艺术语言规范了色彩审美本质的具体含义(例如,传统象征中的红色是权力的象征)。在这个模型中,绘画技术的情感本质增强了色彩的符号学特征。科学的新颖性。本文论证了绘画色彩的概念是中国当代美术的主要绘画原则。综述了中国艺术批评家的研究方法。
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Color as a pictorial principle in the artistic language of Chinese painting: approaches and models of representation
The purpose of the article is to study the approaches and models of color as a pictorial principle in modern Chinese painting. The article is devoted to the actual problem of the study of the artistic language of painting. In Chinese art history, it has several forms of representation. However, one of the key themes is the role of color as a central pictorial principle in contemporary fine art. The study of the role of color in painting is based on the analysis of the formal and compositional-plastic features of artwork. At the same time, color is an important factor in the interpretation of artistic signs and symbols of a particular author. The selection of color from and a number of other elements of the artistic language is associated with the influence of the traditional artistic system in the art of China on the practice of modernization. In many professional studies, we can come across an opinion about the practical significance of tonal and color solutions for substantiating the artistic imagery of a work and its ideological and aesthetic meaning. The methodology. For the analysis of sources we used the method of comparative analysis and the method of typology. Visual sources are analyzed with the use of methodological, formal, compositional and figurative-stylistic analysis. The results. In modern Chinese studies, the problem of color is a completely independent area, which is of universal importance for the analysis of the evolution of fine art. As a visual principle, the subject matter is considered within two approaches: 1) figurative-plastic, where the central place is occupied by tonal and color features in the context of the search for form and composition; 2) emotional-figurative, where the central place is occupied by the perception of color and the interpretation of the signs and symbols of the work. Within the framework of the first approach, three research models dominate: 1) figurative and artistic model, which is characterized by the ability of color to change within the framework of the author’s style idea; 2) the symbolic model focuses the artist’s attention on cultural and historical references; 3) the decorative-figurative model positions the problem of color as a matter of color morphology, as well as the use of traditional decor techniques along with oil painting methods. Within the framework of the second approach, the sign-emotive and semantic-emotive models are the main ones. The first model represents color as a factor of the author’s sign space. The second model is a tool for studying color as a part of a sign artistic language. This artistic language regulates the specific meaning of the aesthetic essence of color (for example, red in traditional symbolism is a sign of power). In this model, the semiotic feature of color is enhanced by the emotional nature of painting techniques. The scientific novelty. The article substantiates the concept of color in painting as the main pictorial principle in the contemporary fine arts of China. The research approaches of Chinese art critics are summarized.
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