中国当代水彩画需要“不择手段”—主体精神和画面效果的重要性.pdfVIP

摘要 从十九世纪末西方水彩画在上海开始广泛传播到现在，也已有 100 余年。它 在我国经历了不同的历史阶段，经过几代画家的不懈努力，已经积累了十分宝贵 的经验，取得了辉煌的成就。随着时代的发展，我们可以逐步看到中国水彩画已 经摆脱了“小品”的局限，从小幅到大幅，从单一的表现形式到多样的表现形式， 从对客观的模仿到主观的创造，极大地增强了水彩画的表现力，拓展了水彩画的 功能，使水彩画既能迅速反映对象的情趣，又可以深入刻划社会生活的各个方面， 成为独立的富有独特艺术魅力和审美价值的画种。 但是我们也应该同时看到水彩画传统画材和技法的特殊性以及特殊性所带来 的局限性。时代在不断进步和发展随着画材和技法的不断发展和改良，水彩的局 限性得到相应解决，给水彩画发展带来契机和新定义。本文提倡以主题精神和画 面效果的重要性，作为艺术本质的主体精神不应该在画种面前让步，当代水彩画 应该打破原有“水”和“透明”的界定法则。实现媒材、形式、技法等的变革。 提倡艺术本质的精神和多元化当代水彩绘画的可行。 关键词 当代水彩 主体精神 画面效果 艺术语言 多元化 1 Abstract From the nineteenth century western painting in shanghai started to spread, it has more than 100 years. it is in our country has gone through different stages, after several generations of artists and has accumulated extremely valuable experience, winning splendid achievement. as the times, we can gradually see chinese paintings have been out of the particle limitations, from small to large, from a single form to the variety of forms， From the objective of the imitation of the subjective and greatly improved in water colours of expression, extend the function of painting and watercolors can quickly show an object of taste, and deeply engraved social all aspects of life, an independent a unique artistic glamour and aesthetic value of the picture. but we should also see in water colours to traditional transport and particularity of painting techniques and particularity of limitations.From the objective of the imitation of the subjective and greatly improved in water colours of expression, extend the function of painting and watercolors can quickly show an object of taste, and deeply engraved social all aspects of life, an independent a unique artistic glamour and aesthetic value of the picture. but we should also see in water colours to traditional transport and particularity of painting technique