水彩创作中的意象表现-修改

水彩创作中的意象表现 The Expression Of Image In Watercolor Creation 冯信群1，刘文良2 Feng Xin Qun1, Liu Wen Liang2 (1. 东华大学 服装与艺术设计学院环艺系，上海，200051； 2.东华大学服装与艺术设计学院环艺设计系研究生，上海，200051) （1.Environment Art Department of Costume and Art Design College of Donghua University, Shanghai, 200051; 2.A graduate studying in Environment Art Design Department of Costume and Art Design College of Donghua University, Shanghai, 200051） 邮箱 【摘要】“意象”作为既有异于西方“具象”，又有别于“抽象”处于两者之间的独特思维方式，包蕴着中华民族的人文气质与文化心理。中国美学的意象是以“观物取象”为方法，“立象尽意”为诉求，通过以“意”为“象”、以“意”造“象”等来传递意象的，进而影响着我国艺术创作中的意象表达。文章旨在对当代语境下水彩创作中的意象表现作进一步探究，一方面吸收中国传统绘画意象表现精髓，另一方面从新的材料技法、视觉形态及设计元素的注入等方面对意象表现作探索。以确立“意象”这一中国意象水彩艺术独特的感知方式而形成理论，并以此拓展水彩艺术创作空间，丰富水彩艺术语言，提高水彩艺术品味，指导实践创作。 [Abstract] Image, as a distinctive thinking pattern existing between the western figurative and abstraction, embodies the humanitarian temperament and cultural psychology in Chinese culture. With the method of forming the image by observation and the appeal of expressing the meaning by establishing the image, image transfers images by setting meaning as an image and creating an image by meaning. This method furthers its influence on imaging expression in national artistic creations. This paper aims to do a further research on the imaging expression of water color paintings in the modern context. On one hand, it absorbs the quintessence of imaging expression of traditional Chinese painting. On the other hand, it explores the imaging expression from the aspects of new material techniques, the introduction of visual shape and designing elements. To form a theory on establishing image as a unique thinking pattern of Chinese imaging watercolor artistic, the study can broaden the watercolor artistic creation, enrich the artistic language of watercolor painting, prompt the artistic sense towards the painting and instruct the creation in practice. 【关键词】水彩；创作；意象；意象表现 [Keywords] watercolor ; creation; Image ;expression of image 引言 Introduction 水彩作为西方舶来画种，在中国已有百年发展历程。由于中华民族有着悠久的道家、佛家哲学的传统积淀，博大精深的文化传统，使得来自西方的水彩画在中国得到了不同生存、发展的文化环境和土壤，形成了中国水彩发展与西方水彩不同步的状态，其发展历程注定它具有西方水彩画的特点和中国文化特征，并呈现出独特的意象化审美内涵。而如何将“意象”这一中国传统文化的精髓融入到现代水彩艺术创作中去，在当代社会与文化语境中对意象水彩创作作进一步拓展，使具有中国文化主体意识的中国水彩有多元化的意象表达，是我们当代水彩画家们共同的课 题 快递公司问题件快递公司问题件货款处理关于圆的周长面积重点题型关于解方程组的题及答案关于南海问题 。 1.1 研究现状 1.1 Research of nowadays 意象水彩艺术研究从属于水彩艺术民族化问题。中国水彩百年的历史可谓民族化历史，自明清时期，西学东渐、西方水彩传入中国起，中国水彩画家们就自觉走上民族化的道路。并为之进行了不懈的探索，在探索中积累了极其宝贵的经验，推动了中国水彩的发展。但在发展的同时也有遗憾。其一，水彩艺术作为作为西方舶来画种，因文化的差异，从开始就打上了西方文化的烙印，西方水彩艺术表现多呈现出强调实境、纵深空间拓展、静止式、逻辑性、秩序感的推理思维和写实性面貌。 而现代中国水彩却仍然大量挪用西方的艺术语言形式，在创作实践中具象性表现作品居多，导致风格单一、千人一面，满足不了人们多样化的审美需求。其二，中华民族有着博大精深的文化传统，传统美学体系是以意与象、意与境，以及两者之间的契合无间的意象、意境为轴心的。其中意象论是中国传统美学的中心范畴，也是中国美学最具世界贡献的突出典范。中国绘画从彩陶纹饰到宋元文人画等无不表现意象的审美观念。但水彩艺术“西学东渐”立足现代中国画坛过程里，没有遵循艺术发展的规律，在借鉴、继承和升华中，没有注重吸收“意象”这一传统文化的精髓。使我国水彩艺术盲目地随着西方潮流走，没有形成具有中国文化内涵的绘画艺术。其三，国内外对“意象”水彩艺术研究少，而且不够深入系统。没有形成完备的意象水彩艺术理论体系来指导意象水彩创作实践。其四，意象水彩的部分理论并非从实践中由下而上形成，没有坚实的实践基础。 2 认识“意象” 2 Understanding of Image 2.1 意象的含义和本质 2.1 The meaning of Image 在中国意象美学体系中，意象就是寓“意”于“象”。“意”是内在的抽象的心意，“象”是外在的具体的物象。“意”源于内心并借助于“象”来表达，“象”其实是“意”的寄托物。意象是客观形象与主观心灵融合成的具有某种意蕴与情调的东西，就是用来寄托主观情思的客观物象，是画家对客观物象经过创作主体独特的情感活动而创造出来的一种艺术物象。意象的本质，是中国这个民族观照于社会与自然的一种独特思维方式和叙述经验。它既不是纯客观的唯表象的感性，也不是纯主观的唯经验的理性，而是以直觉的方式，在感性之中把握理性的经验。当“意象”表现为审美过程时和创作主体上，就是综合，提炼对审美客体的印象与感悟，而不拘泥一时一地的形象再现，表现在视觉特征上，就是以“意”为“象”，以“意”造“象”，不是被动而客观的叙事，也不是完全主观的臆造。①意象是画家情思和生命的物化表现，来自于画家对生活的深刻体验与对客观世界的自觉感悟，要求画家要“心入于境”、“神会于物”。 2.2 意象表现 2.2 Expression of Image 意象表现注重对精神与理想的追求，采取主观的、感情的表现方法和注重对心灵活动的描写。摩里亚斯针对写实主义的原则——如库尔贝所倡导的“绘画本质上是一种具体的艺术，只包含实存事物的再现”，指出艺术的本质在于“为理念披上感性的外形”。意象表现所追求的目标是在物象与精神之间建立桥梁，使其互通。意象作品，常常采用象征、寓意的手法来表现作者对自然事物的感觉，表现梦幻与主观想象的情调。他们相信，在外在形式与主观情境之间存在着一种呼应的关系，一种清晰的观念，都可以用图像来表述。象征主义理论家德尼认为：“一幅作品要引发人们内心的情境，并不在于借助所呈现的主题，而在于作品的本身，即传达内在感应的信息，并要能使感情得以永存不朽。” 意象的表现在我国表现得尤为明显。中国“天人合一”的文化精神本能的将再现与表现、主观与客观融为一体，呈现方式既不是客观再现也不是主观抽象而是介于似与不似之间。受这种思想的影响，华夏民族艺术精神突出地表现在对宇宙生命力的赞礼和艺术意境的追求，而艺术家即通过对自然和生命现象的领悟；着力表现天地万物的生机活力和人物的气质、个性和自己内心精神世界的真实。这类作品受中国文化的影响，较多地融入民族意识，并不以写实作为最高 标准 excel标准偏差excel标准偏差函数exl标准差函数国标检验抽样标准表免费下载红头文件格式标准下载 ，或许是对生活的感悟与印象，是一种综合后的表现。从“意”出发来驾驭“形”，借景抒情，状物言志，追求理念和意境之美，强调从物态到心态的挖掘和表现，具有极强的艺术生命力。水彩画家蒋振立先生就是意象表现的代表，他的作品充分吸取中国传统文人画写心、写神、写意的特点，并把中国水墨神韵巧妙融合在水彩中，画面中的漓江山水烟雾朦胧，水气氤氲，自然形象与文化内涵高度统一，呈现出富有本土文化和美学特征的面貌，作品品味高雅，意境深远。水彩画家雷洪作品也是意象表达，他承袭了西方造型的色、光观念，掺杂着中国画的色彩观，常用水彩、水粉色有如中国画山水般的点苔、皱染。揉色混杂，形色交错，既有写实的器皿、折光花卉的摇曳，拟真生动，又有抽象写意的流光溢彩、墨色飞溅，既有西方水彩画的充实、透明，又有中国画的虚实和积厚。这种境界非心灵和水彩技艺的交融不可致，位在神逸之间，在水色的翻滚飞动中呈现飘逸与透脱。水彩画家王涌则将西方的造型构架与东方的意境神韵相结合，用大笔概括出的小花、青瓷、飘逸、空灵，处处体现出对精神的体味和一段人生经历的述说。 图1 蒋振立《云海》 图2 雷洪《静物》 图3 王涌《瓶花》Fig. 1 Jiang Zheng Li《Clouds》 Fig.2 Lei Hong《Subject》 Fig.3 Wang Yong《A vase of Flower》 3意象在水彩创作中的实现 3 Achievement of Image in watercolor creation 3.1 通过主观的色彩来传递意象 3.1 Using Subjective color to express Image 中国传统美术中的色彩是在中国哲学思想背景下建立的色彩文化系统，是艺术家用色彩创造出的心物相契、情景交融，叙事统一的色彩体系。②中国的色彩观和西方色彩观不同，西方色彩是画家手中再现客观现实的手段，而中国的色彩是哲学的色彩观，将色彩作为哲学意义上的宇宙秩序使用，赋予色彩以广泛的象征意义。中国绘画的色彩更多的服从于画家的心理逻辑和意象表达，超越了视觉表象的局限，色彩是以情造景，对客观物象进行主观的抽象、组合、夸张、变形艺术中的形象与主观现实差距大，带着强烈的主观性。受传统文化的影响，在水彩创作中画家以重构物理之色，表现难言而可感的精神意识，“寓意于彩、移情于彩、以彩尽意、以彩抒情”③。以舍形取意的方式对色彩的独立性予以自由的夸张与极致的发挥，视物象为传达审美情感和文化的视觉信息符号，让画家将自身的体悟和情感融入其中并在画面上得到充分体现，传达一种主观的意象。水彩画家段辉教授作品《荷系列》中的色彩都作了主观的处理，采用中性的灰色来表现，或冷或暖、或浓或谈，巧妙淡雅而不失变化、和谐，在扑朔迷离的色彩境界中挥洒心中的色彩感受，画其“心象”，诉说蕴藏在心灵深处的情感。 图4 段辉《荷系列》 Fig.4 Duan Hui《Lotus》 3.2 通过笔墨来传递意象 3.2 Using calligraphy to express Image 笔墨源于使用中国的毛笔和水墨所产生的复合概念，它的内涵远超过表面形式和技巧，骨子里是心性和灵性的表达，是对人本体的一种深层思考，是人内心营构之像，传达着一种超越笔墨之像而具有某种精神性的东西。笔墨是中国绘画造型直接付诸物质材料，使之对象化、视觉化的最后手段，同时也是精神表现的载体。“笔墨一道，同乎性情”，传统的文人画家，并不满足于描写客观物象的形似，物象对他们来说只是一种象征，只是一种媒介，通过独特的语言形式来表现自己的性情。“借笔墨以写天地万物而淘泳乎我也”。古人把笔墨对画面产生的“灵气”提到一个高度，笔墨之间可以体现出力、神、性、学、识等这些主观的内在的精神状态和超越时空的丰富想象力。笔墨精神在画面中的流露，也即笔墨的传意和表意。 水彩创作中也有用“笔”用“墨”的，由于水彩与中国水墨写意画接近，同时又受中国绘画传统的影响，在水彩艺术中水彩因“水”的含量而使笔法千变万化，韵味无穷。水、色在画纸上产生的点、线、面、叠加、渗透、飞白、转折、轻、重、缓、急以及用水的多少产生的光涩、枯润、曲直、方圆、厚薄……种种效果引出刚柔、苍秀等感受，画家内在世界，外在操作这些效果感受的诸多关联，以及人们在创作欣赏过程中形成的对它们的感知方式与习惯，都结在笔墨的话语中。王维新教授作品生动、洗练、写意、畅神，颇具大家气派，他将强烈的表现性造型方式与中国文人画的水墨写意因素融合一体，在结构中驱遣灵动的线条与画面色彩有效结合，大笔挥洒，酣畅淋漓，神完气足，落落大方，从不拘泥于细节的得失，而是格外看重形象的鲜活和整体的气韵生动，作品意隽深长。而另一位水彩画家陈立勋老师的作品也具有“写意”的特征，作品中运用轻松灵动的线条和清新的色彩，在情景与笔墨、水与色的交融中烘托出强烈的视觉气氛，形成如诗、如歌的意境深深地震撼着人的心灵。 图5王维新《荷系列》 图6 陈立勋《马来西亚风光》 Fig.5 Wang Wei Xing《lotus》 Fig.6 Chen Li Xun《Malaysia》 3.3 通过“气韵”的生成来传递意象 3.3 Using “Flavor”to express Image 谢赫六法中的“气韵生动”不仅包含着对人物的传神的描绘，也传达着人物内心情感世界的表达，包涵着丰富的精神内涵。张彦远在《历代名画论》中提出观点“气韵不同，空陈形似，气力未遒，空善赋彩”在他的观点中要求以气韵写形，以神写形，强调对精神的追求。明顾凝远说：“气韵在境中，亦在境外”笔墨的表现是气韵的外在表现特征，而精神实质才是气韵真正追求的。“气韵本游乎心”气韵从古到今都是主观玄妙的形而上的东西，它的骨子里深受老庄美学的影响，“气韵”的传达是画家心灵的一种感受，是艺术家对自然、人生、宇宙之道的一种无上的追求。 Sheikh Six of the "Lively" contains not only the vivid depiction of the characters, but also to convey the character's expression of inner emotional world, bear a rich spiritual content. Zhang Yan Yuan in the "history painting" theory put forward ideas "artistically different, empty Chen shape, strength is not Qiu, empty good assigned color" in his view required in order to artistically written form, to God written form, emphasizing the spiritual pursuit. Ming Gu Ning Yuan said: "character in the territory of, nor in the offshore" ink performance is artistically the external appearance of features, but the essence is the artistically really after. "Character of the Tour Down Heart" character since ancient times are the subjective mysterious metaphysical things, its bones by Zhuangzi aesthetic impact, "character" in the mind of the artist to convey a feeling, an artist of nature, life, the universe of the Road, a supreme pursuit. 水彩画的一大特点就是水色流动变化无常。水载色或酣畅淋漓，气势磅礴，或聚散渗化，含蓄空灵，或流动冲涌，力遒韵雅，水随色，形随水，水色在自然和雕琢中虚实相生，具有“气化流行，生生不息”气韵贯通的韵律美同时也使艺术形象达到出神入化的境界。在水彩创作中，也强调“气韵”的积累，强调与它相联系的“意象”的表现。林绍灵老师创作中，十分讲究画面气韵的生动，而“气韵生动”正是作品是否达到“意象”美的境界的重要特征。在他作品里的物象都展现出水色清新灵动，润泽典雅的效果，在物与像虚实掩盖之间，透溢出一种“意象之美”。在丁寺钟老师的作品中我们也看到他在发挥水彩特性的基础上融合了中国水墨画的特点在视觉中寻求色彩和水墨的有效结合，在各种结构因素、视觉空间和物质机理之间调理画面的整体气韵，形成气韵生动主观的视觉图式进而传达自己情感。 Watercolor is a major feature of color flow volatility. Set color or dripping water, magnificent, or parting infiltration, subtle ethereal, or mobile red Chung, Li Qiu and elegance, with water color, shape with water, and carved in a natural color in virtual and real, has a "gas of the popular and prosperous "character through the rhythm and also make artistic images to achieve a superb level. In the watercolor creation, but also stressed that "character" of the accumulation of stress associated with it "image" of the performance. LAM Shiu-Ling teacher creation, is very particular about the picture artistically vivid, and "Lively" is whether the works of "image" an important feature of the realm of beauty. He works in the show color images are fresh and clever, elegant moisturizing effect, as the actual situation with the material covered in between, through the spill an "image of beauty." In the small temple bell's works, we also see him play, based on the characteristics of watercolor combines the characteristics of Chinese ink in the ink color and vision for the effective integration of the various structural factors, between visual space and physical mechanism conditioning the overall picture artistically, the formation of vivid subjective visual schema and then convey their emotions. 图7 林绍灵《忆江南》 图8 丁寺钟《月过西山》 Fig.7 Lin Shao Ling《Memory of Jiangnan》 Fig.8 Ding Si Zhong《Moon on the West Hill》 3.4 通过“空白”来传递意象 3.4 Using“Blank”to express Image 留白是中国画构图中的一大特点，和西方的构图形式不同，它凝结着我们中华民族独特的艺术观，有着无限的哲学底蕴——“此时无声胜有声”，其中的“无声”和“有声”，“空”和“实”都不是独立的而是和谐统一的。空白并不是空洞无物的白纸，而是画家精心安排的笔墨不到之处，它是画面中不可或缺的，与“实像”不可分割的有机组成部分，含蓄、蕴藉，促人思考。是画面形象延伸和时空延续的“像外之象”。留白是建立在艺术想象基础上的一种艺术创造方法，是通过虚实相生、无中生有进行意象造型的美学追求。 Blank in the composition of Chinese painting is one of the major characteristics of different forms of composition and the West, it condenses our nation's unique art, philosophy has unlimited background - "Silence is golden at this time," one of the "silent" and "sound", "empty" and "reality" are not independent but harmonious unity. Is not empty blank white paper, pen and ink but not the artist carefully arranged place, it is an integral part of the screen, and the "real image" an integral part of an integral, subtle, refined, and promote people's thinking. Is a screen image of the extension and continuation of the space-time "as outside the elephant." Blank is built on the artistic imagination to create art based on the way, is through the virtual and real, fabricated the image of the shape of aesthetic pursuit. 水彩创作中也讲究“空白”，空白的美感是水彩艺术中不可缺少的构成因素，不管是题材还是意境方面的需要，都必须充分重视空白造型的存在。空白所形成的虚空间，在人们思维意念上有着无限丰富的想象余地。对水彩画家而言，艺术的形象超越自然的形象，就是以一点空明之心静观万象，计白当黑，体现艺术的魅力所在。空白空间的存在，实型与虚型的存在并不是独立的单体而是互为衬托关系，空白融于内容，融于组构空间，是绘画构成中不可缺少的元素。有了空白，就有了视觉形象，就有了无限的想象空间。④而正是这种“空白”的美学思想汇聚成水彩画中的“意象”表现语言，水彩创作中空白的处理也自然是意象的空间，传达意象，使作品有意象之美。在冯信群教授人物作品《画家》中我们可以看到，在画家用饱满的水色塑造画中人物的动态之余，主观的将人物的T恤以及鼻头、眼睛高光作留白处理，打破了色块的沉闷，形成了画面的透气空间，这些看似不经意的留白，正是作品的画眼，它既是画面实体的补充，也是轻松氛围的意象传达。 Watercolor creation also pay attention to "blank", empty beauty of watercolor art is an indispensable constituent elements, regardless of subject or mood needs, must pay full attention to the existence of a blank form. The formation of a virtual blank space on the ideas in people's thinking has unlimited room for a rich imagination. For watercolorist, the art of image beyond the image of nature, is to wait and see little air out of the heart of Vientiane, namely, when the black and white, reflecting the artistic charm. The existence of empty space, Real and imaginary-type monomer but there is not independent of each other off the relationship, and into the content space, and into the fabric of space, is the painting constitutes an indispensable element. With a blank, there will be a visual image, there is unlimited room for imagination. It is precisely this "blank" aesthetic ideas converging in watercolor "image" performance language, watercolor creation process is naturally a blank space imagery to convey the image that works with images of beauty. Professor Feng Xinqun characters in works of "artist" we can see the artist painting with a full color shape the dynamics of the characters apart from the subjective character of the T-shirt and the nose, eyes blank as high light treatment, breaking the color boring, forming a picture of ventilation space, these seemingly inadvertently left blank, it works painted eyes, it is both physical screen complement the images convey the atmosphere is relaxed. 图9冯信群《画家》 Fig.9 Feng Xin Qun《Painter》 4 水彩创作中意象的拓展 4 Exploration of Image in Watercolor creation 4.1 新的材料、技法的使用对意象表现空间的拓展 4.1 Using new materials, techniques to explore images expansion of space 材料的介入被认为是当代艺术最重要的扩展之一，新材料的介入从根本上变革了传统艺术的表达模式，使可供选择的材料增多，艺术家在观念上更自由。材料在表达中具有材料本身的材质性和材料所包含的精神指向双重意义。因而由于材料的介入，不同材质的物性使画而自然而然具有了一个复合的表叙空间和表叙层次，这些都是传统水彩画表现力所不可能具有的，它的功能增加画面的丰富性、使画面有强烈视觉冲击力的精神张力。如通过材料的融入使色彩、形象叠加组合在各个层次逐次显现，改变了绘画的平面性。进而使画面在呈现纵深和多维感的同时也具有丰富的形态、色彩层次和时空意味；材料和水彩的融合使肌理、形状、符号等因素的产生具有不确定性、偶然性，从而作品具有模糊的属性，形成不同的视觉形态，让观众在视觉上产生错觉和幻觉，融入观众自己的生活经验和审美意愿，进行不同的理解和想象。等等这些特点的产生对传达作品的精神意蕴起了非常大的作用。 Materials involved in contemporary art is considered one of the most important extensions, new materials involved in a fundamental change in the traditional mode of artistic expression, choice of materials to increase the artist more freedom in the concept. Material with the material itself in the expression of material and material contained in a double sense of the spiritual point. So because the material involved, the physical properties of different materials to make art and have a natural compound of table space and table classification level classification, which are impossible in traditional watercolor expression has its function to increase the richness of the screen, so that images have a strong visual impact of mental tension. Such as through the material into the color image superimposed combination of successive appear at all levels, changing the plane of the painting. And thus make the picture in the present multi-dimensional sense of depth and also has a wealth of form, color levels, and time means; materials and the integration of the watercolor texture, shapes, symbols and other factors produce uncertainty, contingency, which works with fuzzy properties, the formation of different visual forms, the audience in visual illusions and hallucinations, his own life experiences into the audience and aesthetic will be a different understanding and imagination. Etc. These features give rise to convey the spirit of implication from the works of a very large role. 在当代水彩画创作中一些水彩画家从各自表现的需要来选择了能增强画面表现力的材料，并将新材料和水彩结合转换成自己的个性化形式和艺术语言，获得了表叙的另一种形式空间和语言空间，丰富了意象表达，拓展了意象表现的空间。在水彩画家苏海青老师的作品中他充分利用了丙烯、油等特殊材料，让它们很好地和水彩融合在一起，丙烯色彩的艳丽、油水分离若即若离呈现的斑驳肌理、透明胶水的层层迭加等这些效果的产生，增强了画面的色彩饱和度、层次感和质量感。使作品不仅具有水彩的酣畅淋漓而且还有厚重感，形成巨大的视觉冲击力，通过对老火车等工业机器的描绘，引发对文明和精神历程兴废的思考。水彩画家贺立言老师的作品则把中国当代水墨实验语汇与水彩画进行融合，使之形成新的视觉形态传达心灵的感受。 In some contemporary watercolor watercolors writing home from their performance needs to select the picture that can enhance the expression of materials, and new materials and watercolors combine into their own personal and artistic form of language, access to the table another classification forms of space and language space, enriched images, expresses, expands the performance of space imagery. In watercolorist Su Haiqing's works, he takes full advantage of acrylic, oil, special materials, so that they blend well and watercolor, acrylic colors bright, mottled oil-water separation presented ambiguous texture, layers of transparent glue superposition such as the production of these effects enhance the image of the color saturation, depth and quality of feeling. That works not only with watercolor hearty but also heavy feeling, to form a huge visual impact, through the old railway and other industrial machines picture, triggering Rise and Fall of the history of civilization and spiritual thinking. Liyan He watercolorist's works put the vocabulary of contemporary Chinese ink painting with watercolor fusion experiments, and make it a new visual form to convey the feeling. 图10 苏海青《大潮》 图11 贺立言《吉祥广西·黑衣壮》 Fig.10 SuHaiQing《Tide》 Fig.11 HeLiYan《Luck GuangXi. Man in Blac》 4.2 设计元素的注入对意象表现空间的拓展 4.2 Design elements into the performance space for the expansion of the image 随着时代的发展，文化的融合，各艺术门类界限的模糊使现代水彩创作领域呈现多元的格局。这就使一些致力于创新的画家，希望借鉴设计艺术的可取之处来对意象水彩艺术表现作拓展。将画面注入设计元素.作品就具有设计意味并赋予作品更深刻的意蕴和更强烈的艺术感染力。青年水彩画家黄华兆作品《天语 ·天囚》巧妙地吸取了设计的构成原理，用设计意识将传统文化的多种器物和谐、有节奏的组合在画面中。画面中多以物象的局部或碎片的形态出现在平面化的虚拟空间中，这种平面化的组合使画面呈现一种新的视觉形态。尽管是虚拟空间，但在虚拟之中又选择了一处局部作精心刻画并赋予色彩，使实处和虚处、鲜艳色彩和单色形成强烈对比。画面中一抹色彩与单色背景形成补色关系的构成式色彩块面，更以其非现实的符号特点，弥补了画面场景的真实性，让观者在这个虚拟的超现实艺术空间中去体悟作者精神表现的境界。在虚拟与写实、平面与立体、单色与色彩、写实与写意、具像与符号种种矛盾而和谐之中构成一种超现实的精神境界，一种对传统的思考与反省。⑤水彩画家梁钢老师在作品中也十分注重以现代构成为主体的画面组织，在画面中他对乐器等物象作了结构的分解使物象原有的形状发生了变化，形成富有韵律节奏的点、线、面。在各种形状的对比，色彩和形状消失与显现的节奏中体现了组合的韵律，传达了音乐的美感和个人情感的诉求。 With the development of cultural integration, the blurring of the disciplines of the arts of modern watercolor creative field in the pattern of diversity. This makes some of the dedicated and innovative artist, hopes to learn the merits of the design to the art of watercolor on the image for the expansion of artistic expression. Design elements into the picture. Work on a design means more work and give a more profound implication and strong artistic appeal. Young watercolorist Huanghua Zhao work "day language • days prisoners" cleverly drawing on the composition of design principles, with the design sense of the traditional culture of a variety of objects harmony, rhythmic combinations on the screen. Screen with images of more than local or debris in the form of the virtual space plane, this plane of the screen showing the combination of a new visual form. Although the virtual space, but also chose the virtual into a local as well describe and give color to make real office and virtual office, bright colors and stark contrast monochrome. Touch of color and monochrome images in the background composition of the relationship between the formation of complementary color type color block surface, but also for its non-realistic symbolic features, the authenticity of the scene to make up the screen, allowing viewers to the surreal in this virtual space to the art of understanding the author the realm of spiritual expression. In the virtual and realistic, plane and three-dimensional, monochrome and color, realistic and impressionistic, with as many contradictions and harmony among the symbols constitute a surreal spiritual realm, a kind of traditional thinking and reflection. ⑤ watercolorist works in the teacher beams steel also attaches great importance to modern organizational form as the main screen, the screen, he made ​​images of musical instruments to make images of the original structure of the decomposition of the shape changes, the formation of rhythmic rhythmic point , line and plane. In contrast a variety of shapes, colors and shapes disappear and appear to reflect a combination of the rhythm rhythm of the music to convey the beauty and personal emotional appeal. 图12 黄华兆《天语 天囚》 图13 梁钢《回家》 Fig.12 Huanghuazhao《Prison》 Fig.13 Lianggang《Going Home》 4.3 新的视觉形态对意象空间的拓展 4.3 The new form of visual images of space to expand 21世纪是图像时代，是在以图像为主体的当代视觉文化全球化的背景下产生的，这种图像的视觉文化正渗透于人们生活的每一个角落，深深地影响并改变着当代人的文化生活空间。水彩艺术作为一个视觉艺术的门类，在创作观念的更新、绘画材料的拓展运用、设计元素的注入等因素影响下，通过吸收、融合，呈现出新的视觉形态。在新的视觉形态展现的同时，建构在意象审美这一中国视觉形态内核之上的意象水彩创作的意象也得到了拓展。如通过对意象创作中的各视觉元素经画家主观个性化的组织使它具有强烈的视觉冲击力。突显一种艺术形式，一种超越自然的完美形式，引发出丰富的联想和更广泛的意义。 21st century is the era of the image is in the image as the main contemporary visual culture against a backdrop of globalization, this is the image of the visual culture permeates every corner of people's lives, deeply affecting and changing the contemporary culture and living space. Watercolor art as a visual arts category, the creative mind, the expansion of the use of painting materials and design elements into other factors, by absorption, integration, showing a new visual form. Visual form in the new show at the same time, construction of the aesthetic image of the Chinese in the visual form of