本文關(guān)鍵詞：具象性與抽象性的融合　出處：《湘潭大學(xué)》2013年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 吳冠中 具象性 抽象性 融合 情感

【摘要】：20世紀(jì)70年代中期，中國(guó)走出了文化革命的荊途，向西方重開(kāi)門戶，恢復(fù)了與世界的接觸。在藝術(shù)領(lǐng)域，也不例外地通過(guò)各種書(shū)刊、展覽以及官方或非官方的藝術(shù)交流渠道，使中國(guó)藝術(shù)作品再現(xiàn)于國(guó)際藝壇。在眾多備受矚目的中國(guó)畫(huà)家之中，吳冠中以其獨(dú)特的藝術(shù)氣質(zhì)和作品風(fēng)貌成為他們當(dāng)中的佼佼者。無(wú)論水墨還是油彩，吳冠中的作品都成為中西結(jié)合、傳統(tǒng)與現(xiàn)代融會(huì)的典范。他是20世紀(jì)中國(guó)美術(shù)史上舉足輕重的藝術(shù)家之一，同時(shí)也被國(guó)際藝壇認(rèn)定為20世紀(jì)現(xiàn)代中國(guó)畫(huà)的代表畫(huà)家之一。 吳冠中的藝術(shù)主張和繪畫(huà)實(shí)踐使中國(guó)藝術(shù)產(chǎn)生了結(jié)構(gòu)性震動(dòng)，縱觀他的畫(huà)集與文集，可以看出他既不囿于傳統(tǒng)而固步自封，也不追求那些脫離生活實(shí)際的虛幻荒誕的“后現(xiàn)代藝術(shù)”，而是強(qiáng)調(diào)繪畫(huà)的形式美與抽象美，讓形式服從內(nèi)心表達(dá)的自由，意在具象與抽象之間，趣在寫(xiě)形與抒情之際。吳冠中的繪畫(huà)，基本經(jīng)歷了從具象到半抽象再到抽象的藝術(shù)風(fēng)格，但又不僅僅是停留在抽象這一階段，而是在具象與抽象間來(lái)回輪轉(zhuǎn)，這兩種表現(xiàn)性質(zhì)在吳冠中的畫(huà)作中體現(xiàn)出了一種高層次的融合。比如說(shuō)寫(xiě)實(shí)，他不只是簡(jiǎn)單的對(duì)景寫(xiě)生，如實(shí)地展示客觀，，往往為意境所役，按照形式美的規(guī)律去突破客觀物象中各種形、色的局限，進(jìn)行一番去蕪存菁，重新組合的工作；比如說(shuō)選材，他常以不同物料重繪舊有的畫(huà)面，當(dāng)他改變其風(fēng)格時(shí)，新的風(fēng)格亦不完全取代舊有的面貌，而是抽取舊有畫(huà)面的元素，或遷景虛構(gòu)、或夸張變形，強(qiáng)調(diào)心中有感的一部分，從而抓住觀眾心靈，給人以強(qiáng)烈的審美感受。就這樣兩者風(fēng)格的互相轉(zhuǎn)換融合，為吳冠中的作品增添了不一樣的風(fēng)采，特別是作品的創(chuàng)新點(diǎn)足夠引起觀眾的興趣，因此，研究吳冠中繪畫(huà)作品中這種具象性與抽象性間相互融合的關(guān)系是有意義的。吳冠中作為一個(gè)重要的藝術(shù)歷史節(jié)點(diǎn)，將新中國(guó)成立前的現(xiàn)代派美術(shù)與80年代倡導(dǎo)藝術(shù)純粹性、90年代以后中國(guó)抽象藝術(shù)的發(fā)展巧妙地通過(guò)繪畫(huà)作品的具象性與抽象性之間相互融合的關(guān)系聯(lián)系起來(lái)，構(gòu)成了一條完整的線索。在這個(gè)意義上，吳冠中對(duì)于中國(guó)20世紀(jì)藝術(shù)發(fā)展歷程無(wú)疑具有重大作用。
[Abstract]:In the middle of 1970s, China went out of the way of cultural revolution, reopened its doors to the West and resumed contact with the world. In the field of art, it was no exception through various books and periodicals. The exhibition, as well as official or unofficial channels of artistic exchange, make Chinese works of art reappear in the international art world, among the many highly regarded Chinese painters. Wu Guanzhong with his unique artistic temperament and work style became the best among them. No matter ink or oil color, Wu Guanzhong's works have become a combination of Chinese and Western. He was one of the most important artists in the history of Chinese art in 20th century and was recognized as one of the representative painters of modern Chinese painting in 20th century. Wu Guanzhong's art proposition and painting practice caused a structural shock to Chinese art. Looking at his collection of paintings and works, we can see that he is not confined to the tradition and set his own. It also does not pursue the "postmodern art" which deviates from the reality of life, but emphasizes the beauty of form and the beauty of abstraction in painting, so that the freedom of expression of form from the heart is intended to be between concrete and abstract. Wu Guanzhong's painting basically experienced the artistic style from concrete to semi-abstract to abstract, but not only to the abstract stage, but also to the rotation between concrete and abstract. These two kinds of performance nature in Wu Guanzhong's paintings reflect a kind of high-level fusion. For example, realism, he is not only a simple sketch of the scene, truthfully display the objective, often for the artistic conception. According to the law of formal beauty to break through the limitation of various forms and colors in objective object images and carry out the work of eliminating barren and recombining. For example, in the selection of materials, he often redraws old pictures with different materials. When he changes his style, the new style does not completely replace the old appearance. Instead, he extracts the elements of the old pictures, or changes the scene to make up the scene, or exaggerates and deforms it. Emphasis on the part of the feeling in the heart, so as to seize the hearts of the audience, give people a strong aesthetic feeling. Thus, the two styles of mutual conversion and fusion, for Wu Guanzhong's works added a different style. In particular, the creative point of the work is enough to arouse the interest of the audience, therefore. It is meaningful to study the relationship between representativeness and abstractness in Wu Guanzhong's paintings. Wu Guanzhong is an important historical node of art. In 80s, we advocated the purity of art before the founding of New China. After 90s, the development of Chinese abstract art was skillfully connected by the fusion of the representativeness and abstractness of painting works, which constituted a complete clue. In this sense. Wu Guanzhong undoubtedly played an important role in the development of Chinese art in 20th century.
【學(xué)位授予單位】：湘潭大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J205

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