【摘要】：力輕則浮,力重則鈍,疾運(yùn)則滑,徐運(yùn)則滯,偏用則薄,正用則板,曲行如云,直行如尺……中國(guó)畫將線韻當(dāng)做自己的生命,通過(guò)提按等各種方法,把各種類型的對(duì)比因素非常有機(jī)地納入到筆墨當(dāng)中來(lái)。不僅反映出各種物象外觀面貌與質(zhì)感的差異,還能表現(xiàn)出人物的各種神態(tài),折射出作者的情感、心理與喜好的同時(shí),卻又非常單純地刻畫物象的紋理與輪廓;另一方面,抽象的線并非沒(méi)有目的,其中蘊(yùn)含著深遠(yuǎn)的意味,不僅用來(lái)表形,而且還用來(lái)達(dá)意。在線條的方面存在著一致的審美標(biāo)準(zhǔn)。線條創(chuàng)作過(guò)程中的毛筆非常重要,通過(guò)線條來(lái)反映物象的過(guò)程中,常常運(yùn)用其各種類型的用筆模式能夠反映出創(chuàng)作者的特點(diǎn)以及情感,達(dá)到傳達(dá)作品神韻的作用。中國(guó)畫中的線在陶瓷藝術(shù)中的運(yùn)用,使我們看到,保留和傳承并不等同于一味因襲,無(wú)論文人畫者將傳統(tǒng)描繪的怎樣好,其僅僅體現(xiàn)著古代,能夠?qū)λ脑煨汀懸馑枷氲冗M(jìn)行借鑒,如果單純死板地抄襲它的樣式,充其量也就反映了文化發(fā)展的落后性。藝術(shù)表現(xiàn)無(wú)法完全脫離生活而存在,其實(shí)質(zhì)上需要體現(xiàn)一定的社會(huì)生活。因此在面對(duì)新社會(huì)浪潮的挑戰(zhàn)之外,不能忽略的是,各種新思維、新意識(shí)的出現(xiàn)也會(huì)對(duì)陶藝及線條的發(fā)展創(chuàng)新帶來(lái)新體驗(yàn)、新感悟和新認(rèn)知。由此來(lái)說(shuō),系統(tǒng)地從中國(guó)畫線條的發(fā)生發(fā)展、陶藝的發(fā)生發(fā)展去深入研究、推動(dòng)陶藝的不斷發(fā)展,豐富和拓展線條的表現(xiàn)力,使其獨(dú)特的藝術(shù)魅力更好地表現(xiàn)當(dāng)下陶瓷藝術(shù),表達(dá)民族特有的風(fēng)格樣式,就顯得尤為地有意義。
[Abstract]:Light force is floating, force weight is blunt, rapid transport is slippery, Xu Yun is hysteresis, partial use is thin, is using plate, curved as clouds, straight such as ruler. Chinese painting regards line rhyme as its own life. It not only reflects the differences in appearance and texture of various images, but also shows the various looks of the characters, reflects the feelings, psychology and preferences of the author, but also depicts the texture and contours of the images very simply; on the other hand, Abstract lines are not without purpose, they contain profound implications, not only for appearance, but also for meaning. There is a consistent aesthetic standard in the online bar. The writing brush is very important in the process of line creation. In the process of reflecting the object image by the line, it is often used to reflect the characteristics and emotion of the creator by using its various types of pen patterns, so as to convey the charm of the work. The use of lines in Chinese painting in ceramic art makes us see that retention and inheritance are not the same as inheritance, no matter how good the literati portray the tradition, it just reflects the ancient times and can shape it. The freehand brushwork thought and so on carries on the reference, if simply inflexibly plagiarizes its style, at best also reflected the cultural development backwardness. Artistic expression can not exist completely from life, and it needs to embody certain social life in essence. Therefore, in the face of the challenges of the new social wave, it can not be ignored that the emergence of various new thinking and new consciousness will also bring new experience, new perception and new cognition to the development and innovation of ceramic art and line. From this point of view, from the occurrence and development of the lines of Chinese painting and the occurrence and development of ceramic art, we will study deeply, promote the continuous development of ceramic art, enrich and expand the expressive power of the lines, and make its unique artistic charm better express the present ceramic art. It is particularly meaningful to express the unique style of the nation.
【學(xué)位授予單位】：青島大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J527;J212

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