材料技法研究与中国古代绘画的保存修复
摘要
中国古代壁画的现状美感是我们过去没有给予高度重视和研究的一块领域，通过对古代壁画现状美感形成的自然因素、人为因素和绘画材料自身因素等几方面的研究，以及对洞窟壁画、寺观壁画和墓室壁画现状美感的分析，引发出对古代绘画传统的继承与拓展的思考如何继承传统?继承传统中的哪些部分?古代壁画的现状美感对我们的当代艺术表现有何启示?以及如何借鉴、拓展与融通?由此进一步展开古代壁画的现状模写，并由材料技法的研究延伸到两个方向，一是通过现状模写，学习传统绘画以箔、矿物色为核心的一整套材料技法体系，并拓展出系列适应当代艺术表现的材料技法体系，改变过去材料技法单一、匮乏的局面；体会古代壁画特有的现状美感现象——虚实、软硬、松紧关系，完成对古典美术的研究，并由此切入，拓展到中国绘画的当代艺术表现，完成古典与当代的对接。另一个方向是通过对清中期金曜《西园雅集图》的修复装裱实践，以及传统绘画载体(纸本、绢本，以及历史上的名纸和绢)和古代卷轴画的现状模写的研究，进行对古代书画作品保存修复的初步探讨。
We never gave enough recognition and study to actuality aesthetic of Chinese archaic fresco in past. Through the study of natural, factitious and painting material factor which form actuality aesthetic of archaic fresco , and analyzing of actuality aesthetic of antre, temple and grave fresco , I hope to make a reflection about how to inherit and develop Chinese traditional painting : how should we inherit tradition, which portion should we inherit ? which illumination is actuality aesthetic of archaic fresco to our modern art? And how should we use for reference, develop and adsorb tradition? On the basis of the reflection , we could farther stride forward to start actuality moulding , and make material and skill study extend toward two way : the first way, learning the whole material and skill system of traditional painting which core is foil and mineralogy through actuality moulding , and developing a new series of material and skill system that could fit modern art, changing the situation which material and skill
were simple and pinch in past; I tasted particular aesthetic of archaic fresco--the relation of void
and concrete , flexible and rigidity , loose and close in my study of archaic art, and hope my study could extend to modern art representation , achieve bult joint that between ancientry and modern' The second way, through the practice of renovate and mount Literator's meet in West Garden which was created by Jinyang in the middle of Qing Dynasty, and study of traditional painting carrier (paper, silk , and high qulity paper, silk in history)and actuality of archaic reel painting , progress primary discussion about conserve and repair archaic painting .
We never gave enough recognition and study to actuality aesthetic of Chinese archaic fresco in past. Through the study of natural, factitious and painting material factor which form actuality aesthetic of archaic fresco , and analyzing of actuality aesthetic of antre, temple and grave fresco , I hope to make a reflection about how to inherit and develop Chinese traditional painting : how should we inherit tradition, which portion should we inherit ? which illumination is actuality aesthetic of archaic fresco to our modern art? And how should we use for reference, develop and adsorb tradition? On the basis of the reflection , we could farther stride forward to start actuality moulding , and make material and skill study extend toward two way : the first way, learning the whole material and skill system of traditional painting which core is foil and mineralogy through actuality moulding , and developing a new series of material and skill system that could fit modern art, changing the situation which material and skill
were simple and pinch in past; I tasted particular aesthetic of archaic fresco--the relation of void
and concrete , flexible and rigidity , loose and close in my study of archaic art, and hope my study could extend to modern art representation , achieve bult joint that between ancientry and modern' The second way, through the practice of renovate and mount Literator's meet in West Garden which was created by Jinyang in the middle of Qing Dynasty, and study of traditional painting carrier (paper, silk , and high qulity paper, silk in history)and actuality of archaic reel painting , progress primary discussion about conserve and repair archaic painting .
引文
[1]《马克思、恩格斯选集》第1卷，第603页。
[2]《美学四讲》李泽厚、广西师大学出版社，2001第85页
[3]《唐五代画论》湖南美术出版社，第158页
[4]《中国木版水印概说》冯鹏生 北京大学出版社 1999年
[5]《现代汉语词典》中国社会科学院语言研究所词典编辑室编，商务印书馆，修订本 1998年
[6]《中国书画装裱技法》冯鹏生著 北京工艺美术出版社 2003年
[7]《美术研究》1984年5月
[8]《艺术——观念》、《艺术实践》第1版，第15页，塔皮埃斯著，黄河清译，浙江摄影出版社 1989年
[9]《装潢志图说》、《赏延素心录》山东画报出版社 2002年
[10]《中国画论类编》俞剑华编著 中国古典艺术出版社 1957年
[11]《中国文物分析鉴别与科学保护》 科学出版社 2001年
[12]《画史丛书》于安澜编 上海人民美术出版社
[13]《中国绘画材料史》蒋玄怡著
[14]《书画装潢学》杜子熊著 上海书画出版社 1986年
[15]《古书画副本摹制技法》冯忠莲 紫禁城出版社
[16]《由材料介入·中国画的当代艺术表现》胡伟编著 山西人民出版社 2005
[17]《绘画材料的表现艺术》 胡伟编著 黑龙江美术出版社 2001
[2]《美学四讲》李泽厚、广西师大学出版社，2001第85页
[3]《唐五代画论》湖南美术出版社，第158页
[4]《中国木版水印概说》冯鹏生 北京大学出版社 1999年
[5]《现代汉语词典》中国社会科学院语言研究所词典编辑室编，商务印书馆，修订本 1998年
[6]《中国书画装裱技法》冯鹏生著 北京工艺美术出版社 2003年
[7]《美术研究》1984年5月
[8]《艺术——观念》、《艺术实践》第1版，第15页，塔皮埃斯著，黄河清译，浙江摄影出版社 1989年
[9]《装潢志图说》、《赏延素心录》山东画报出版社 2002年
[10]《中国画论类编》俞剑华编著 中国古典艺术出版社 1957年
[11]《中国文物分析鉴别与科学保护》 科学出版社 2001年
[12]《画史丛书》于安澜编 上海人民美术出版社
[13]《中国绘画材料史》蒋玄怡著
[14]《书画装潢学》杜子熊著 上海书画出版社 1986年
[15]《古书画副本摹制技法》冯忠莲 紫禁城出版社
[16]《由材料介入·中国画的当代艺术表现》胡伟编著 山西人民出版社 2005
[17]《绘画材料的表现艺术》 胡伟编著 黑龙江美术出版社 2001