诠释中国水彩本土化的进程与嬗变  

INTERPRETING THE PROCESS AND EVOLUTION OF LOCALIZATION OF CHINESE WATERCOLOR

作　　者：甘奥深 GAN Ao-shen(School of Social Sciences,University of Macao,Macao 999078,China)

机构地区：[1]澳门大学社会科学学院,中国澳门999078

出　　处：《南阳理工学院学报》2024年第5期119-123,共5页Journal of Nanyang Institute of Technology

摘　　要：水彩画是西方画种传入中国土壤较早的绘画种类之一,经过百余年的发展,已经形成了具有本土文化特色的语言形式,立足于本民族文化的语境,与中国传统绘画尤其是传统水墨画有着异曲同工之妙。严格意义上讲,1999年的第九届全国美展水彩粉画展成为中国水彩的根本性转机,无论是在图式构建、语言形式上,还是在表达方式上均呈现出了内涵式转化,审美价值与观念重新获得认知。水彩画家们将水彩画语言探索融入艺术实践的深入思考中,进而丰富了水彩画语言的形式多样化,诠释了材料语言的内涵与纯粹,以呈现中国水彩独有的艺术品质和视野。Watercolor painting is one of the earliest Western painting genres to be introduced to China.After more than a hundred years of development,it has formed a language form with local cultural characteristics.Based on the context of our own national culture,it has the same beauty as traditional Chinese painting,especially traditional ink painting.Strictly speaking,the 9th National Fine Arts Exhibition Watercolor Powder Painting Exhibition in 1999 became a fundamental turning point for Chinese watercolor.Whether in terms of schematic construction,language form,or expression,it presented a transformation of connotation,and aesthetic values and concepts were re recognized.Watercolor painters integrate the exploration of watercolor painting language into their deep thinking of artistic practice,thereby enriching the diversity of watercolor painting language forms,interpreting the connotation and purity of material language,and presenting the unique artistic quality and perspective of Chinese watercolor.

关 键 词：中国水彩 本土化 语言形式 文化观念 

分 类 号：J225[艺术—美术]