论壁画创作中多重空间构图形式的表达
摘要
运用多重空间组织画面是壁画创作中一种非常重要的构图形式,也是壁画构图的一大特点。本文主要研究壁画创作中多重空间构图形式的特点和表现手法,进而探讨如何运用多重空间构图形式进行壁画创作的问题。
进行《古都新韵》这幅壁画创作,需要在实践中解决构图形式的问题,由此引出文章的主题——壁画创作中多重空间构图形式的表达。从创作实践的前期准备可以得出:壁画创作的主题内容具有丰富性的特点,因此需要研究多层次、大容量的主题内容对壁画构图形式的要求和影响。
通过采取多重空间构图形式的壁画和写实性架上绘画的构图比较,总结多重空间构图形式的基本特点——对于透视法则的应用是灵活的,对画面空间的表达是暗示的。壁画创作中利用多重空间的形式分隔、排列、组织画面,最终目的是使画面达到一种平面意义上的构成美。
针对多重空间构图形式的基本特点,研究利用多重空间构图形式组织画面的处理手法。在实例中分析画面多重空间的分割与连接手法,运用平铺和重叠的方式划分画面空间,利用骨架结构连接画面多重空间。研究多重空间构图形式营造画面时空关系的手段,在实例中分析时间、空间上的多层次表达。
通过壁画创作实例,研究多重空间构图形式在装饰、写实两种不同壁画风格中的表现形式,得出壁画创作在构图形式上要与画面造型语言相适应的结论。
研究壁画多重空间构图形式的特点与表达,是为了更好的服务于壁画创作实践,在《古都新韵》创作实践中运用多重空间构图形式组织画面,取得了理想的画面效果。
In this paper, the author connects with the concrete practice to study the nature of painting murals on the uniqueness and creativity rules through the whole process of creative practice.
Taking Beijing city as themes for the creation of murals is the main thread running through the article, from the creation of the initial preparations to composition, materials, production, display and other aspects and makes stages exposition to explain deeply the creation of murals through the comparison between murals and the easel paintings. This paper aims at research through practice to identify and consider problems in practice, through research to solve these problems, finally to draw conclusions.
The author takes examples and comparisons as the main research ways to sum up the characteristics of composition by comparing the same themes of the murals and the easel paintings and by comparing Oriental painting and Western painting murals.
The author explains the unity of murals in the production of materials and modeling language through examples, and connects with these issues in series by finishing graduate creative ideas and process.
Murals is strongly restricted by environment, and plays the freedom of art in the various restrictions, which requires the artist in the composition, materials must be carefully considered on its environment and mutual coordination.
Mural asks artists not only to operate in the form factors, the issue of color, but also to consider the overall material, composition and shape of the language and adapt to the space environment echoes the problems to avoid a simple list and spelled. Clearly understanding the value of art murals isn't decorative murals. Artists must face the difficulties and meet the challenges.
进行《古都新韵》这幅壁画创作,需要在实践中解决构图形式的问题,由此引出文章的主题——壁画创作中多重空间构图形式的表达。从创作实践的前期准备可以得出:壁画创作的主题内容具有丰富性的特点,因此需要研究多层次、大容量的主题内容对壁画构图形式的要求和影响。
通过采取多重空间构图形式的壁画和写实性架上绘画的构图比较,总结多重空间构图形式的基本特点——对于透视法则的应用是灵活的,对画面空间的表达是暗示的。壁画创作中利用多重空间的形式分隔、排列、组织画面,最终目的是使画面达到一种平面意义上的构成美。
针对多重空间构图形式的基本特点,研究利用多重空间构图形式组织画面的处理手法。在实例中分析画面多重空间的分割与连接手法,运用平铺和重叠的方式划分画面空间,利用骨架结构连接画面多重空间。研究多重空间构图形式营造画面时空关系的手段,在实例中分析时间、空间上的多层次表达。
通过壁画创作实例,研究多重空间构图形式在装饰、写实两种不同壁画风格中的表现形式,得出壁画创作在构图形式上要与画面造型语言相适应的结论。
研究壁画多重空间构图形式的特点与表达,是为了更好的服务于壁画创作实践,在《古都新韵》创作实践中运用多重空间构图形式组织画面,取得了理想的画面效果。
In this paper, the author connects with the concrete practice to study the nature of painting murals on the uniqueness and creativity rules through the whole process of creative practice.
Taking Beijing city as themes for the creation of murals is the main thread running through the article, from the creation of the initial preparations to composition, materials, production, display and other aspects and makes stages exposition to explain deeply the creation of murals through the comparison between murals and the easel paintings. This paper aims at research through practice to identify and consider problems in practice, through research to solve these problems, finally to draw conclusions.
The author takes examples and comparisons as the main research ways to sum up the characteristics of composition by comparing the same themes of the murals and the easel paintings and by comparing Oriental painting and Western painting murals.
The author explains the unity of murals in the production of materials and modeling language through examples, and connects with these issues in series by finishing graduate creative ideas and process.
Murals is strongly restricted by environment, and plays the freedom of art in the various restrictions, which requires the artist in the composition, materials must be carefully considered on its environment and mutual coordination.
Mural asks artists not only to operate in the form factors, the issue of color, but also to consider the overall material, composition and shape of the language and adapt to the space environment echoes the problems to avoid a simple list and spelled. Clearly understanding the value of art murals isn't decorative murals. Artists must face the difficulties and meet the challenges.
引文
[1]赫尔姆霍兹·海尔曼·冯:《视觉心理学》,转引自阿恩海姆《艺术与视知觉》。
[2]丹纳《艺术哲学》
《一代天骄成吉思汗陵壁画》孙景波等绘 人民美术出版社 2007年11月第一版
《中国壁画百年》侯一民、李化吉主编 中国建筑工业出版社 2004年第一版
《墨西哥壁画家》(加)罗什福特著 相广泓译 清华大学出版社 2004年6月第一次印刷
《北京微观地理笔记》王斌著 三联出版社2007年5月第一次印刷
《什刹海》北京市城市设计规划研究院
《壁画艺术》郗海飞著 吉林美术出版社 1996年7月第一次印刷
《艺术与视知觉》(美)鲁道夫·阿恩海姆 著 滕守尧 朱疆源 译 四川人民出版社
《艺术哲学》(法)丹纳著 傅雷译 人民文学出版社出版 1996年第二次印刷
[2]丹纳《艺术哲学》
《一代天骄成吉思汗陵壁画》孙景波等绘 人民美术出版社 2007年11月第一版
《中国壁画百年》侯一民、李化吉主编 中国建筑工业出版社 2004年第一版
《墨西哥壁画家》(加)罗什福特著 相广泓译 清华大学出版社 2004年6月第一次印刷
《北京微观地理笔记》王斌著 三联出版社2007年5月第一次印刷
《什刹海》北京市城市设计规划研究院
《壁画艺术》郗海飞著 吉林美术出版社 1996年7月第一次印刷
《艺术与视知觉》(美)鲁道夫·阿恩海姆 著 滕守尧 朱疆源 译 四川人民出版社
《艺术哲学》(法)丹纳著 傅雷译 人民文学出版社出版 1996年第二次印刷