鼓浪嶼之韻
發(fā)布時(shí)間：2018-08-07 17:44
【摘要】：初見鼓浪嶼,還僅是十七歲青澀之年,如今想起那個(gè)夏天,卻還是記憶猶新。我與鼓浪嶼的情緣開始在那時(shí),延續(xù)到了今日直至未來(lái)。如今,我有幸每日居住于這個(gè)美麗的海上花園,每天每夜走在這里,和她相依相偎,輕嗅她最真實(shí)的芳香。對(duì)我來(lái)說(shuō),唯有用自己的繪畫語(yǔ)言來(lái)表達(dá)對(duì)她深深的喜愛,才會(huì)讓這份喜愛顯得更為真切。想要描繪出一個(gè)美麗真實(shí)的鼓浪嶼,一定不是一件容易的事情。這個(gè)島嶼有著與生俱來(lái)的的獨(dú)特,特別的歷史、特別的韻味。她所擁有的建筑,就與海對(duì)面的廈門島形成了鮮明的對(duì)比。歷史能給予她的,是那么多讓人驚嘆的美好畫面。鼓浪嶼的別墅,她們有著屬于自己的故事,那么多的名人大家都曾流連于此。鼓浪嶼的花草樹木、海浪沙灘也都為這個(gè)海上花園增添了別樣的生機(jī),我的創(chuàng)作素材當(dāng)然也離不開她們。鼓浪嶼的山水,多的是布滿樹木的山體和偶爾突出的大石,加上高高低低的別墅群,這純?nèi)皇翘烊缓腿宋牡耐昝澜Y(jié)合。但是這樣的組合被合理地安排在國(guó)畫作品的畫面中,有時(shí)卻顯得有些困難,需要考慮的不僅是國(guó)畫作品本身的創(chuàng)作手法,還需要考慮如何將歐式建筑和國(guó)畫表現(xiàn)方式完美地融合在一起,并且能很好地表現(xiàn)出鼓浪嶼的韻味,形成屬于自己的畫面。解決好這樣的難題,既是挑戰(zhàn),也是創(chuàng)新。西洋風(fēng)景畫多采用對(duì)景寫生的方式進(jìn)行創(chuàng)作,畫面中的布局安排時(shí)常很難大跨度地跳躍出局部的景致,雖然畫面整體顯得逼真,但有時(shí)候也難免因此減弱了人本能的巨大想象空間。因此,我在我的國(guó)畫作品中進(jìn)行了創(chuàng)新性的嘗試,雖然布景中多半是鼓浪嶼的西式樓房,但恰恰利用鼓浪嶼有別于其他地方的這種獨(dú)特景致來(lái)重新組合畫面。通過組合,來(lái)體現(xiàn)建筑的韻律,組合出畫面的疏密節(jié)奏感。利用樓房由近及遠(yuǎn)的布局安排,將獨(dú)棟的建筑物進(jìn)行組合,進(jìn)而形成一個(gè)個(gè)新的整體,畫面中穿插大大小小的植被,她們最終都統(tǒng)一在一個(gè)畫面中。此外,在此系列的作品中,我選擇了不同的表達(dá)方式來(lái)表現(xiàn)畫面,有的以工筆形式為主,,有的以寫意形式為主,有的則兼工帶寫。畫面以設(shè)色為主,突出鼓浪嶼建筑中色彩鮮明的紅磚、灰墻、白柱等等。布局上,注重畫面疏密安排,用富有節(jié)奏感的布局來(lái)譜寫鼓浪嶼樂章。技法上,嘗試各種制作肌理的方式來(lái)豐富畫面。通過這一個(gè)系列的畫面來(lái)詮釋鼓浪嶼,最終來(lái)實(shí)現(xiàn)我的“鼓浪嶼之韻”。
[Abstract]:When I first saw Gulangyu, I was only seventeen years old. Now I think of that summer, but it is still fresh in my memory. My love affair with Gulangyu began at that time, extending to today and into the future. Now I have the privilege of living in this beautiful garden of the sea every day, walking here every night, snuggling with her, smelling her truest fragrance. To me, only the expression of her deep love in her own painting language will make this love more real. It must not be easy to paint a beautiful and real Gulangyu. The island has its own unique, special history and special flavor. The building she owns is in sharp contrast to Xiamen Island across the sea. History can give her so many amazing beautiful pictures. Gulangyu villas, they have their own story, so many celebrities have hung around here. Gulangyu flowers, trees, waves and beaches have also added a different life to this maritime garden, my creative material is certainly inseparable from them. The mountains and waters of Gulangyu are filled with trees and occasionally protruding stones, and the villas are high and low, which is a perfect combination of nature and humanity. However, such a combination is reasonably arranged in the picture of traditional Chinese painting works, but sometimes it is somewhat difficult to consider, not only the creative techniques of the traditional Chinese painting works themselves, but also the way in which the traditional Chinese painting works are created. We also need to consider how to integrate the European architecture and the Chinese painting expression way perfectly, and can well display the charm of Gulangyu, form their own picture. To solve such a difficult problem is not only a challenge, but also innovation. Western landscape paintings are often created in the form of sketches, and it is often difficult for the layout of the pictures to jump across a large span to give a local view, although the picture as a whole appears to be lifelike. But sometimes it weakens the huge imagination of human instinct. Therefore, I have made an innovative attempt in my traditional Chinese painting works. Although most of the western buildings on Gulangyu are in the setting, I use the unique scenery of Gulangyu to recombine the picture. Through the combination, to reflect the architectural rhythm, the combination of the picture of the dense sense of rhythm. The building is arranged by the near and far layout, the single building is combined, and then a new whole is formed, in which vegetation, large and small, is interspersed, and they are all United in one picture. In addition, in this series of works, I choose different expressions to express the picture, some in the form of meticulous brushwork, some mainly in the form of freehand brushwork, some are also written. Screen to color-based, highlight Gulangyu architecture in bright red brick, gray walls, white columns and so on. Layout, pay attention to the screen arrangement, with the rhythm of the layout to compose Gulangyu movement. Technically, try various ways to make texture to enrich the picture. Through this series of pictures to interpret Gulangyu, the final realization of my "Gulangyu rhyme."
【學(xué)位授予單位】：福州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212
[Abstract]:When I first saw Gulangyu, I was only seventeen years old. Now I think of that summer, but it is still fresh in my memory. My love affair with Gulangyu began at that time, extending to today and into the future. Now I have the privilege of living in this beautiful garden of the sea every day, walking here every night, snuggling with her, smelling her truest fragrance. To me, only the expression of her deep love in her own painting language will make this love more real. It must not be easy to paint a beautiful and real Gulangyu. The island has its own unique, special history and special flavor. The building she owns is in sharp contrast to Xiamen Island across the sea. History can give her so many amazing beautiful pictures. Gulangyu villas, they have their own story, so many celebrities have hung around here. Gulangyu flowers, trees, waves and beaches have also added a different life to this maritime garden, my creative material is certainly inseparable from them. The mountains and waters of Gulangyu are filled with trees and occasionally protruding stones, and the villas are high and low, which is a perfect combination of nature and humanity. However, such a combination is reasonably arranged in the picture of traditional Chinese painting works, but sometimes it is somewhat difficult to consider, not only the creative techniques of the traditional Chinese painting works themselves, but also the way in which the traditional Chinese painting works are created. We also need to consider how to integrate the European architecture and the Chinese painting expression way perfectly, and can well display the charm of Gulangyu, form their own picture. To solve such a difficult problem is not only a challenge, but also innovation. Western landscape paintings are often created in the form of sketches, and it is often difficult for the layout of the pictures to jump across a large span to give a local view, although the picture as a whole appears to be lifelike. But sometimes it weakens the huge imagination of human instinct. Therefore, I have made an innovative attempt in my traditional Chinese painting works. Although most of the western buildings on Gulangyu are in the setting, I use the unique scenery of Gulangyu to recombine the picture. Through the combination, to reflect the architectural rhythm, the combination of the picture of the dense sense of rhythm. The building is arranged by the near and far layout, the single building is combined, and then a new whole is formed, in which vegetation, large and small, is interspersed, and they are all United in one picture. In addition, in this series of works, I choose different expressions to express the picture, some in the form of meticulous brushwork, some mainly in the form of freehand brushwork, some are also written. Screen to color-based, highlight Gulangyu architecture in bright red brick, gray walls, white columns and so on. Layout, pay attention to the screen arrangement, with the rhythm of the layout to compose Gulangyu movement. Technically, try various ways to make texture to enrich the picture. Through this series of pictures to interpret Gulangyu, the final realization of my "Gulangyu rhyme."
【學(xué)位授予單位】：福州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212
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