【摘要】：作為一種繪畫(huà)，水粉畫(huà)法的歷史是悠久的，但是作為一個(gè)畫(huà)種，水粉畫(huà)則是近代藝術(shù)的產(chǎn)物。在西方早期繪畫(huà)史中，采用粉質(zhì)顏料進(jìn)行繪畫(huà)僅僅作為水彩畫(huà)的一種技法依附于水彩畫(huà)中，那時(shí)粉質(zhì)顏料的應(yīng)用價(jià)值遠(yuǎn)遠(yuǎn)超過(guò)其繪畫(huà)價(jià)值。 為了了解水粉畫(huà)在中西方發(fā)展的軌跡、狀況和東西方差異，筆者查閱了法國(guó)盧浮宮博物館、英國(guó)泰特美術(shù)館、英國(guó)國(guó)家畫(huà)廊、美國(guó)大都會(huì)藝術(shù)博物館等境外美術(shù)館館藏資料以及當(dāng)代西方水粉、彩畫(huà)家的網(wǎng)站，對(duì)國(guó)內(nèi)已有的文獻(xiàn)資料進(jìn)行補(bǔ)充，對(duì)西方水粉畫(huà)發(fā)展歷史及現(xiàn)狀進(jìn)行總結(jié)，根據(jù)查閱的歷史資料，梳理了水粉畫(huà)的發(fā)展脈絡(luò)。對(duì)于水粉畫(huà)體系而言，由于外國(guó)多數(shù)國(guó)家“水粉”僅屬于“水彩”的表現(xiàn)和綜合手段之一，沒(méi)有形成獨(dú)立的畫(huà)種，因此對(duì)比在國(guó)外的受重視程度和發(fā)展環(huán)境，可以看出水粉畫(huà)在中國(guó)得到的蓬勃發(fā)展，有客觀唯物的歷史原因。那就是水粉畫(huà)符合了中國(guó)大眾傳統(tǒng)美學(xué)觀和審美需求中經(jīng)世致用的“實(shí)用主義”，而在近代中國(guó)廣泛傳播具備了優(yōu)勢(shì)條件，之后在不同時(shí)期對(duì)人民群眾文化生活都產(chǎn)生過(guò)重要的影響，例如水粉畫(huà)作為政治宣傳工具的時(shí)期，遇曲折坎坷韌力不減，終煥發(fā)出了內(nèi)部藝術(shù)本體的覺(jué)醒；在現(xiàn)代開(kāi)放潮流中，盛而不衰、繼續(xù)發(fā)展壯大，，歷久彌新、不拘一格，以更多樣的藝術(shù)形式活躍于中國(guó)大地。它承載中國(guó)近代文化的發(fā)展史，用各種易于大眾接納的形式記錄著時(shí)代的變遷。梳理水粉畫(huà)的發(fā)展脈絡(luò)，明確了水粉畫(huà)在我國(guó)美術(shù)發(fā)展史上的重要意義，這對(duì)水粉畫(huà)體系的進(jìn)一步完善具有現(xiàn)實(shí)意義。 中西方水粉畫(huà)佳作迭連，翻開(kāi)有關(guān)西方水粉畫(huà)（body-color）的文獻(xiàn)資料，西方美術(shù)界對(duì)于水粉的藝術(shù)性和特有味道也有著深刻的見(jiàn)解和進(jìn)步、詳實(shí)的探討，曾有西方藝術(shù)評(píng)論家對(duì)水粉與水彩在技法和表現(xiàn)性上的區(qū)別做了六點(diǎn)總結(jié)歸納，與我國(guó)美術(shù)教育家、水粉畫(huà)大師袁運(yùn)甫先生所作的總結(jié)相似。認(rèn)識(shí)與觀念的趨同，更加體現(xiàn)著中西方文化的交匯。西方繪畫(huà)的精髓在于重視差異的客觀性，繪畫(huà)工具材料上表現(xiàn)的區(qū)別，表達(dá)不同的藝術(shù)效果，此基礎(chǔ)上的自由創(chuàng)作，給觀者帶來(lái)水粉獨(dú)立的藝術(shù)本位的美感和精神享受，本文將在有關(guān)章節(jié)介紹現(xiàn)在西方各國(guó)活躍的藝術(shù)家及其代表作品。 上述提及的部分文章內(nèi)容是筆者經(jīng)查閱了大量有關(guān)的外文資料，首次在國(guó)內(nèi)介紹，例如畫(huà)家莫里斯·格拉夫，對(duì)于國(guó)內(nèi)是陌生的，但他在水粉畫(huà)領(lǐng)域的探索是不可忽視的。
[Abstract]:As a kind of painting, the history of water painting is long, but as a kind of painting, water painting is the product of modern art. In the history of early Western painting, the use of pink paint painting is only as a technique of watercolor painting attached to the watercolor painting, at that time, the application value of pink pigment far exceeded its painting value. In order to understand the development of water painting in China and the West, the author consulted the Louvre Museum in France, the Tate Gallery, and the National Gallery of England. The materials collected by overseas art museums such as the Metropolitan Museum of Art in the United States and the websites of contemporary western water powder and color painters supplement the literature already available in China, and summarize the history and current situation of the development of western water painting. According to the historical data, combing the development of water painting. As for the water painting system, because the "water powder" in most foreign countries is only one of the performance and comprehensive means of "water color" and does not form an independent painting species, it is compared with the degree of attention and the development environment in foreign countries. It can be seen that the flourishing development of water painting in China has the historical reason of objective materialism. That is, the water painting conforms to the "pragmatism" of the traditional aesthetic view and aesthetic needs of the Chinese masses, and its widespread dissemination in modern China has its own advantages. After that, it had an important impact on the people's cultural life in different periods. For example, during the period when water paint was used as a political propaganda tool, the twists and turns and bumpy toughness did not diminish, and eventually the awakening of the internal art ontology emerged; in the trend of modern opening to the outside world, Prosperous and unfailing, continue to grow, old and new, unconventional, more diverse forms of art active in the land of China. It bears the history of modern Chinese culture and records the changes of the times in various forms that are easily accepted by the public. Combing the development context of water painting, it clarifies the important significance of water powder painting in the history of the development of Chinese fine arts, which has practical significance for the further improvement of the painting system. The Chinese and Western waterpowder paintings have been written over and over again, opening up the literature on western water powder painting (body-color). The western art circles also have profound views and progress on the artistry and special taste of water powder, and have a thorough and detailed discussion. Some western art critics have summarized the differences between water powder and watercolor in technique and expressiveness, which are similar to those made by Chinese art educator and master of water painting, Mr. Yuan Yunfu. The convergence of cognition and concept reflects the intersection of Chinese and western cultures. The essence of Western painting lies in attaching importance to the objectivity of difference, the difference in the performance of painting tools and materials, and the expression of different artistic effects. On this basis, the free creation on the basis of which brings to the viewer the aesthetic feeling and spiritual enjoyment of the independent artistic standard of water powder. This article will introduce the active artists and their representative works in the western countries. Some of the articles mentioned above are introduced in China for the first time after the author has consulted a large number of relevant foreign language materials, such as the painter Maurice Graff, who is unfamiliar to the country, but his exploration in the field of water painting cannot be ignored.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J215

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