形质结构在线视频

同学们好
Hello,everyone

这一讲我们探讨
in this course, we will talk about

形质结构
texture and form

形质结构
the texture and form

是画面通过不同质地对比
is base on the contrast between different texture

建立有序的组织
to build an organization

以此表达审美趣味的组织形式
with aesthetic expression

质地是一个什么概念呢
what is the concept of texture

质地原指某种材料结构性质
the original concept of texture is to point the character of certain material

引用到视觉艺术中
in visual art territory

形的质地
texture

是指某种形的肌理构造
refers to the texture of a certain form

质地作为画面因素
as one factor of painting

它的自身美感和组织关系
its own beauty and organizational relationship

是绘画内容的一部分
are part of painting content

在艺术表现上
The artistic expression

是通过不同质地组织来实现的
is achieved through the organization of different textures

例如细腻与粗糙
For example, delicate vs rough

坚硬与柔软
hard vs soft

轻与重
light vs heavy

干与湿等等
dry vs wet

这些都是质地的对比
These are texture contrasts

质地的感受可分为两种
The feeling of texture can be divided into two types

一种是触觉的
one is tactile

一种是视觉的
one is visual

触觉的体验是直接的
The tactile experience is direct

例如触摸到羊毛是柔软温暖的
For example, the feeling of wool is soft and warm

触摸到铁器是坚硬冰冷的
iron is hard and cold when touched

视觉的感受
Visual sensation

是视觉对触觉的心理感受
is the psychological sensation of sight to touch

通过触觉经验和联觉获得
obtained through tactile experience and synesthesia

比如
For example

绘画表现出的质地变化
texture changes in paintings

照片成相产生的各种质感
and the various textures produced by the phases of photos

这些都是视觉的体验
are all visual experiences

质地作为一种视觉要素
As a visual element

很早以前就开始被人类使用
texture has long been used by humans

中国画的彩陶
The painted pottery in China

西方的弥诺斯时期的壁画
and the frescoes of the Minos period in the West

都出现了质地表现
all have texture expressions

在悠长的绘画里程中
In the long history of painting

质地的功能有时是为表现空间
the function of texture

有时是为描绘物象特征
is sometimes to express space

有时是为增加节奏美感
and sometimes to increase the sense of rhythm and beauty

质地无论承载哪些功能
No matter what functions the texture carries

它都和形态 形色一样
it is the instinctive means of human visual expression

是人类视觉表达的本能手段
as same as form and color

有人认为
Some people think that

既使在画面上没有质地变化
even if there is no change in texture of painting

也不妨碍艺术表现
it will not disturb artistic expression

回顾西方的绘画历史
Look back to the history of painting in West

我们能看到
we can see that

人类对绘画的认识
human knowledge of painting

也是在不断发展的
is constantly evolving

可以说在后期印象派之前
It can be said that before the late impressionism movement

西方古典主义绘画
the works of Western classicism paintings

以质地作为主要视觉因素表现的作品
that used texture as the main visual factor
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是不多见的
were rare

直至西方现代艺术发端
It was not until the beginning of modern art

艺术家们才真正把视觉元素
that artists truly liberated

从以摹仿为旨趣的传统中
visual elements

彻底解放出来
from the tradition of imitation

质地表达如同色彩一样
The expression of texture is just like color

有了独立的追求和表现
with an independent pursuit and expression

中国传统绘画
in traditional Chinese paintings

对质地的表现
The use of texture

也并不是一片空白
is not full of blank

诸如干湿 枯润 老嫩 粗细
such as dry and wet, old and fresh, thickness and others

这些质地对比
These texture contrasts

早已在传统的绘画中
have already been well expressed

有过很好的表现
in traditional paintings

只是没有把它独立出来
but they have not been studied

进行研究
independently

有关质地表现上的问题
Regarding the problem of texture

还需要进一步研究 总结和开拓
it needs further research, summarization and exploration

对于质地的概念
About the concept of texture

研究范围及组织规律
the territory of research and the laws of organization

也还需要挖掘 整理
also need to be excavated and explored

质地与材料 肌理等概念
The texture is different from

有所差别
the concepts of object material

它不局限于
It is not limited to

表达某种物体的质感
expressing the texture of certain object

也不是综合材料的特别使用
nor is it a special use of multiple materials

质地表现
The texture expression

应该是超越客观现实的
should be beyond the objective reality

以质地自身的美感
and the special perceptual style formed by the texture's own beauty

和组织关系
and organizational relationship

形成的特别的感性样式
is the value of the texture expression

这正是质地表现的价值所在
this is the true value of the texture expression

现代艺术中
in modern art

质地的表现更加丰富而自觉
The expression of texture is more abundant and conscious

作为形式元素
As a form element

它的表现力
its expressive power

和在画面构成上的
and rhythm changes

节奏变化
in the composition of painting

是最富视觉刺激的
are the most stimulating

一种表现语言
expression visual language

20世纪初
In early 20th century

西方包豪斯设计学院
Bauhaus School of Design

率先把质地训练
took the lead in incorporating texture training

纳入基础造型课程
into basic modeling courses

学生们通过研究
Through research

促使自己从质地的角度
students encourage themselves

来看待周围的事物
to look at the surrounding things from a texture perspective

他们进行综合材料拼贴
They carry out comprehensive material collage

并结合手绘
and combine hand-painting

挖掘质地表现上的最大可能性
to explore the greatest possibility of texture expression

他们不受表现形式的局限
They are not limited by the form of expression

用种种方法
and use various methods

创造出不同纹理的质地效果
to create texture effects with different textures

并在这些效果的对比中
and seek beauty

寻求美感
in the comparison of these effects

这种训练使学生
This training makes students

对自己的感觉更加自信
feel more confident in their practices

不再局限于对形状变化的敏感
and is no longer limited to sensitivity to changes in form

开始对质地的差异
They begin to be interested in differences in texture

如粗糙与平滑
such as roughness and smoothness

干燥与湿润
dryness and moisture

坚硬与柔软等
hardness and softness

产生兴趣
find interest in there

唤醒质地意识是远远不够的
To awaken the awareness of texture is not enough

通过训练
through training

提高质地表现能力
to improve the ability of texture expression

是教学上的新课题
is a new topic in art education

写生中要求有质地结构
The textural structure required in sketching

是让学生不仅要有质地意识
is to let students not only have a sense of texture

同时还要掌握质地表现手段
but also master the means of texture expression

这是丰富学生审美经验
This is a kind of training

拓展审美表现能力的
to enrich students' aesthetic experience

一种训练
and expand their aesthetic performance

在这种训练中有两个要点
There are two main points in this training

一是发现质地 创造质地
one is to find texture and create texture

二是把握限定质地条件下的对比关系
the other is to show the contrast relationship under the limited texture choice

质地的发现和创造
The discovery and creation of texture

是绘画发展史上重要的一步
is an important step in the development history of painting

当代最有影响力的艺术家基弗
Kiefer, the most influential contemporary artist

就在质地表现上
has made outstanding contributions

做出突出的贡献
to the expression of texture

他的作品让我们领略了
His work allows us

如此震撼的艺术世界
to appreciate such a shocking art world

限定质地元素
The limited texture elements

是指采用一两种质地元素
refer to the combination

组合画面
of one or two texture elements

这是写生的要领
which is the key of sketching

为什么要限定
Why limit

质地元素的使用种类呢
the types of texture elements

这是由于绘画的目的
This is because of the purpose of painting

自然中的每一物
everything in nature

都有特别的质感
has a special texture

我们不可能如同照片一样
and we can’t imitate the texture

模仿每一物的质感
of everything like photo

我们写生活动的意义与价值
The meaning and value of sketching activities

是在于从杂乱无序的自然中
is to discover the beautiful order

发现美的秩序
from nature

要表达这种秩序体验
To express this order experience

质地的有机组织
the organic organization of texture

是最有视觉表现力的手段
is the most expressive methods

因此
thus

采用少量质地元素
using a small amount of texture elements

表达画面组织上的
to express the rhythm changes in organization of painting

主次
such as primary and secondary

均衡
balance

强弱
strength

松紧等
and others

节奏变化
change of rhythm

可以使学习者
It can enable learners

在限定中被激发
to be more imaginative and creative

更多想象与创造
within a limited elements

在初步了解质地表现的基础上
With basis understanding of texture expression

我们设定多种元素
we set multiple elements

综合表现的训练
within multiple elements training

旨在寻求有机的联系
aiming to seek organic connections

和有趣味的节奏表现
and interesting rhythmic performance

这是较高层面上的表达
which is a higher level of expression

这个过程中
In this process

不仅要具备质地表现的一般能力
not only the general ability to express the texture

同时还需要调动
but also the initiative

主体审美趣味的能动性
to mobilize the subject's aesthetic interest

多种质地元素的组织
The organization of various texture elements

很容易形成杂乱和割裂的局面
is easy to cause messy and fragmented

通过训练
Through training

我们追求将各种质地元素
we pursue the integration of various texture elements

有变化 有对立地
with changes and opposites

和谐统一在一起
in harmony and unity

这既是一个认识问题
This is a problem of understanding

也是技巧层面控制能力的问题
and also in control

质地的主次关系
The primary and secondary relations of texture

布局的相互照应
the relationship of composition and control

强弱虚实的画面控制
of the strong and weak elements

互容互渗的协调方法
the coordination method of cooperation between each element

均是写生活动的基本内容
they are the basic contents of sketching practice