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2014年南京大学美术研究院13、14届中国画研究生赴敦煌写生考察。我们不仅对敦煌一带的石窟、彩塑、壁画等艺术做了深入考察研究;同时也通过对敦煌一带山川地貌、人文景观的游观做了游历及写生;而对敦煌艺术与人文有了整体的体验和感悟,并将这次写生考察的体会及感悟整理,于是我也就顺理成章地找到了毕业创作的素材和论文的内容。论文首先从敦煌诸佛菩萨和飞天的形式意蕴的研究入手,以及对敦煌一带山川地貌的审美意蕴及技法探索,将敦煌一带山水创作与敦煌壁画的佛菩萨及飞天的形制相结合,创作实践《神游敦煌系列山水》作品。作品以饶宗颐先生提出的西北宗的“新三远”为视角,吸收运用了聂危谷老师的泼彩技法,并在我的山水创作中加以转化,将诸佛菩萨与飞天在时空中的解构重组,并重塑山水之灵境。为今后创作进一步的风格造就做了前期探索和阶段性总结。
In 2014, the 13th and 14th Chinese painting graduate students went to visit Dunhuang painting. We not only made an in-depth study of the art of grottoes, colored sculptures and murals in Dunhuang, but also made an overall tour of Dunhuang art and humanities through the tour of landscapes and humanistic landscapes in Dunhuang. And sentiment, and the experience of this sketch investigation and comprehension finishing, so I will naturally find the graduation material and thesis content. Beginning with the study of the formal connotations of all Buddhas and Buddhas in Dunhuang and the exploration of the aesthetic connotation and techniques of the landscape of Dunhuang in the vicinity of the mountain, the paper combines the Buddha and Buddha of the Dunhuang murals with the Buddha and the flying ape of the Dunhuang murals to create a “ Divine Comedy Dunhuang Series Landscape ”works. From the perspective of “Xin San Yuan” by Northwest Zong Zong proposed by Mr. Rao Zongyi, the work incorporates the technique of splashing and color painting by Professor Nie Hengyu and transforms it into my landscape creation, bringing Buddhas and Buddhists into space and time Deconstruction and reorganization, and reshape the spiritual landscape. For the future creation of further style made a pre-exploration and stage summary.