关于“素描”-美术学专业论文.docx

中国美术学院学位论文原创性声明本人郑重声明:所提交的学位论文是本人在导师的指导下,独立进行研究工作所取得的研究成果。除文中已经加以标注引用的内容外,本论文不包含其他个人或集体已经发表或撰写过的研究成果,也不含为获得中国美术学院或其它教育机构的学位证书而使用过的材料。对本文的研究作出重要贡献的个人和集体,均已在文中以明确方式标明。本人承担本声明的法律责任。作者签名: 日期:2011 年 5月 日学位论文版权使用授权书本学位论文作者完全了解学校有关保留、使用学位论文的规定,同意学校保留并向国家有关部门或机构送交论文的复印件和电子版,允许论文被查阅和借阅。本人授权中国美术学院可以将本学位论文的全部或部分内容编入有关数据库进行检索,可以采用影印、缩印或扫描等复制手段保存和汇编本学位论文。本学位论文属于1、保密□,在_ _年解密后适用本授权书。2、不保密□√。(请在以上相应方框内打“√”)作者签名:日期:2011 年5 月日导师签名:日期:2011 年5 月日目录中文摘要···························································2英文摘要···························································3引言·······························································4正文·······························································5一、“素描”的由来··················································51、词汇的转译与表征·············································52、新时期的“新”方法············································6二、观看方式的显现·················································91、观看方式与造型法则··········································92、观物态度与表达方式··········································11三、观物态度与表达方式的思辨过程···································141、草稿——意图的开始·········································142、视觉的感知过程··············································153、鲜活思维的展现··············································17结语·······························································19致谢·······························································20注释·······························································21参考文献···························································21摘要素描为何,素描何为,是本文写作的思考起点。“素描”作为一个舶来词,出现在中国已近一个世纪。由于历史的局限和其词义概念的多重性,对“素描”的理解,成为一个在学院美术教育中不断被争论与探讨的话题。在新媒介不断涌现的时代中,艺术的承载形式及其评判方式与时俱变。传统的素描认识与基础训练面对当前艺术形态的发展显得相形见绌。文章从“素描”词汇产生的历史背景切入,对“素描”至今以来的所指概念及其词汇语义进行梳理,突破人们仅把“素描”当作造型方法与工具的思维惯性,将“素描”理解为最直接的艺术语言的表达与探索。正是源于在学院基础学****中的感受,本文试图以开放的学术视野探索“素描”一词的历史成因,进而对其存在的意义及其与艺术创作之间的关系展开探究与思辨。关键词素描 观物态度 表达方式 思辨abstractWhatisdrawingandwhytodraw,,,an