本文選題：中國(guó)傳統(tǒng)水墨元素　切入點(diǎn)：現(xiàn)代　出處：《山東大學(xué)》2014年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：水墨畫(huà)藝術(shù)在我國(guó)有著悠久的歷史和優(yōu)良的傳統(tǒng),千百年來(lái),薪火相傳,代有佳作。這種運(yùn)用黑白兩色和干濕濃淡的效果來(lái)表達(dá)創(chuàng)作者內(nèi)心世界的藝術(shù)表現(xiàn)形式,最富有民族特色且為大眾所喜聞樂(lè)見(jiàn)。隨著當(dāng)前全球一體化進(jìn)程的不斷加快和數(shù)字媒體技術(shù)的迅猛發(fā)展,中國(guó)現(xiàn)代插畫(huà)藝術(shù)在講究審美和實(shí)用性統(tǒng)一的前提下,呈現(xiàn)出“多元”發(fā)展的態(tài)勢(shì)和爭(zhēng)奇斗艷的局面。其突出地表現(xiàn)特點(diǎn)是：除了具有傳統(tǒng)插畫(huà)說(shuō)明和解釋文字的功能之外,更多的則側(cè)重于表達(dá)作者的直觀感受和主觀意念。從材料應(yīng)用和制作技術(shù)層面來(lái)看,載體與傳播手段的不斷更新,愈使得插畫(huà)藝術(shù)的發(fā)展空間持續(xù)拓寬,大有從繪畫(huà)與設(shè)計(jì)中獨(dú)立出來(lái)的趨勢(shì)。作為現(xiàn)代視覺(jué)傳達(dá)的重要媒介之一,不僅是商業(yè)用途的插畫(huà),許多獨(dú)立插畫(huà)作品也被廣泛運(yùn)用到現(xiàn)代生活的各個(gè)領(lǐng)域。從傳統(tǒng)的圖書(shū)、雜志、海報(bào),到攝影、平面媒體甚至動(dòng)態(tài)媒體的許多領(lǐng)域,現(xiàn)代插畫(huà)正呈現(xiàn)出-種前所未有的繁榮景象。 但是,自上世紀(jì)中國(guó)實(shí)行改革開(kāi)放以來(lái),經(jīng)過(guò)三十年多年中西文化的頻繁交流,中國(guó)現(xiàn)代插畫(huà)藝術(shù)形式也發(fā)生了顯著的嬗變。由于西方流行藝術(shù)的影響,使得中國(guó)插畫(huà)創(chuàng)作者的價(jià)值觀念和審美情趣發(fā)生很大轉(zhuǎn)變,導(dǎo)致許多藝術(shù)家盲目崇拜甚至大量模仿抄襲國(guó)外的插畫(huà)風(fēng)格,而這些作品并非符合中國(guó)大眾的審美需求,有些只能算是國(guó)外藝術(shù)家創(chuàng)作思想的翻版,其作品亦帶有明顯復(fù)制的痕跡。加之中國(guó)現(xiàn)代插畫(huà)市場(chǎng)的法規(guī)制度與管理的不完善,尤其是網(wǎng)絡(luò)信息技術(shù)的發(fā)展,又導(dǎo)致了大量質(zhì)量拙劣、價(jià)格低廉、表現(xiàn)形式蒼白無(wú)力、內(nèi)容缺少深刻文化內(nèi)涵的“精神快餐”的泛濫。針對(duì)當(dāng)前這種中國(guó)現(xiàn)代插畫(huà)藝術(shù)既丟失傳統(tǒng),又缺少創(chuàng)新的窘境,探索具有中國(guó)傳統(tǒng)民族特色插畫(huà)藝術(shù)發(fā)展之途徑,無(wú)疑是擺在我們面前亟待解決的重要課題。 本課題的緣起,是在本人查閱相關(guān)的研究資料時(shí)發(fā)現(xiàn),多數(shù)既有成果僅停留在對(duì)技法上的闡述,而缺乏系統(tǒng)性,故而將中國(guó)傳統(tǒng)水墨畫(huà)與現(xiàn)代插畫(huà)設(shè)計(jì)完美結(jié)合作為本文研究的重點(diǎn),通過(guò)對(duì)民族傳統(tǒng)水墨元素在插畫(huà)中運(yùn)用狀況的審視與梳理,注重傳統(tǒng)文化的傳承和發(fā)展。本文的寫(xiě)作首先在于厘清研究思路,闡述完整設(shè)計(jì)過(guò)程,并且結(jié)合自己所學(xué)專(zhuān)業(yè)知識(shí)及積累的創(chuàng)作實(shí)踐經(jīng)驗(yàn),從設(shè)計(jì)思路的拓展入手,進(jìn)而在設(shè)計(jì)理念上追求中國(guó)本土特色、與中國(guó)傳統(tǒng)文化的結(jié)合,再到技法上對(duì)傳統(tǒng)水墨畫(huà)的借鑒,最后探索現(xiàn)代技術(shù)在水墨插畫(huà)設(shè)計(jì)中的運(yùn)用。以期為該領(lǐng)域的發(fā)展提供借鑒。
[Abstract]:Painting art in China has a long history and a fine tradition of Chinese painting, for thousands of years, passing the torch, on behalf of a masterpiece. The use of black and white and dry bias to express the effect of the creators of the inner world of art forms, the rich ethnic characteristics and that the public like smell. With the rapid development of the global integration process the accelerating and digital media technology, Chinese modern illustration art in the premise of exquisite aesthetic and practical unity, showing a "multiple" trend of development and flourish situation. Its outstanding performance is: in addition to traditional illustration and explain the function of the text, more focus on the expression of the author intuitive feelings and subjective ideas. From the material application and production technology level, means of vector and dissemination of constantly updated, making more space for development of illustration art continued to expand There is wide, independent from the painting and design trend. As one of the important media of modern visual communication, is not only a commercial illustration, many independent illustrations have been widely used in various fields of modern life. From traditional books, magazines, posters, photography to many fields, and even dynamic print media the media, the modern illustration is showing a hitherto unknown prosperity.
However, since the last century Chinese reform and opening up, after thirty years of frequent exchanges between Chinese and Western culture, Chinese modern illustration art form has undergone significant changes. Due to the influence of western pop art, the concept of value Chinese illustrator and aesthetic interest changed greatly, leading to many artists blind worship or even a large number of plagiarism the illustration style, and these works are not meet the aesthetic needs of the public Chinese, some can only be regarded as foreign artists thought replica, whose works have obvious traces. In addition to copy regulations and management Chinese modern illustration market is not perfect, especially the development of network information technology, has led to a large number of quality poor, low price, feeble form, flooding the content of the lack of profound cultural connotation of "spiritual food" in view of the current. The art of illustration in China not only loses its tradition but also lacks the dilemma of innovation. Exploring the way to develop the illustration art with Chinese traditional characteristics is undoubtedly an important topic to be solved before us.
The origin of this topic, the relevant research data is found in my review, most existing results only in the skill of the exposition, and lack of system, it will China traditional ink painting and the perfect combination of modern illustration design as the focus of this study, based on the traditional ink elements by examining and combing the situation in the illustration, pay attention to the inheritance and development of traditional culture. This article first is to clarify research ideas, the whole design process, and combine their professional knowledge accumulation and creation experience, starting from the development of design ideas, and the pursuit of China local characteristics in the design concept, combining with Chinese traditional culture. The techniques of traditional ink painting for reference, and finally explore the use of modern technology in ink illustration design. In order to provide a reference for the development of the field.

【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J218.5

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