本文關(guān)鍵詞： 中國(guó)當(dāng)代油畫 圖像時(shí)代 “影像化”傾向　出處：《浙江理工大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

【摘要】：隨著科技的發(fā)展,影像成為現(xiàn)代人觀看世界、獲取信息的主要載體和來(lái)源,電腦、電視、報(bào)紙以及手機(jī)等媒介在源源不斷的生成影像。中國(guó)當(dāng)代油畫創(chuàng)作的“影像化”傾向這一藝術(shù)現(xiàn)象正是基于這種影像時(shí)代下的產(chǎn)物。面對(duì)影像對(duì)繪畫的沖擊,中國(guó)當(dāng)代油畫藝術(shù)家順應(yīng)時(shí)代發(fā)展的潮流,在吸納學(xué)習(xí)國(guó)外藝術(shù)風(fēng)格的基礎(chǔ)上結(jié)合本土語(yǔ)境的視覺(jué)經(jīng)驗(yàn),利用影像、改造影像進(jìn)行個(gè)人的藝術(shù)創(chuàng)作實(shí)踐,形成中國(guó)當(dāng)代油畫“影像化”傾向創(chuàng)作的群體性藝術(shù)現(xiàn)象,為中國(guó)當(dāng)代油畫注入了新鮮的血液。本文通過(guò)對(duì)中國(guó)當(dāng)代油畫“影像化”的創(chuàng)作傾向在國(guó)內(nèi)的產(chǎn)生以及呈現(xiàn)的面貌進(jìn)行梳理、分析,并對(duì)這一具有時(shí)代價(jià)值取向和創(chuàng)作觀念的藝術(shù)現(xiàn)象進(jìn)行闡述。通過(guò)梳理試圖建構(gòu)自我“影像化”創(chuàng)作的方向,提高捕捉由周圍環(huán)境形成的特殊視覺(jué)感受的敏銳性,并合理利用、借鑒影像來(lái)承載自己的創(chuàng)作觀念。本文主要分五個(gè)部分:第一部分為緒論,內(nèi)容主要為對(duì)研究的對(duì)象、相關(guān)概念進(jìn)行闡釋,并對(duì)選題的來(lái)源、研究的目的與意義、研究的思路與方法進(jìn)行闡述。第二部分是對(duì)“影像化”創(chuàng)作傾向的藝術(shù)家在當(dāng)代藝術(shù)展覽中的現(xiàn)狀調(diào)研,以“改造歷史:2000—2009年的中國(guó)新藝術(shù)”展為例,分析該展覽中油畫創(chuàng)作“影像化”傾向的藝術(shù)家所占參展及獲獎(jiǎng)人數(shù)的比例進(jìn)行數(shù)據(jù)分析,闡述其在當(dāng)代油畫創(chuàng)作中的價(jià)值并總結(jié)調(diào)研情況及指導(dǎo)意義。第三部分是對(duì)中國(guó)當(dāng)代油畫“影像化”創(chuàng)作傾向產(chǎn)生的時(shí)代背景以及當(dāng)代藝術(shù)發(fā)展歷史進(jìn)行梳理,從歷史經(jīng)驗(yàn)中尋找其創(chuàng)作思想的發(fā)展脈絡(luò)。第四部分是對(duì)中國(guó)當(dāng)代油畫呈現(xiàn)的“影像化”創(chuàng)作傾向進(jìn)行歸納并從兩方面入手剖析,一是繪畫對(duì)影像的借鑒,二是繪畫對(duì)影像的置換與重構(gòu),并闡述“影像化”傾向創(chuàng)作的繪畫性及文化性。第五部分是個(gè)人創(chuàng)作實(shí)踐報(bào)告,從創(chuàng)作實(shí)踐入手對(duì)“影像化”傾向創(chuàng)作進(jìn)行探索,從中總結(jié)創(chuàng)作經(jīng)驗(yàn)。結(jié)語(yǔ)部分是由個(gè)人創(chuàng)作實(shí)踐引發(fā)的關(guān)于油畫創(chuàng)作“影像化”傾向的思考。
[Abstract]:With the development of science and technology, video has become the main carrier and source for modern people to view the world and obtain information, computers, television, Newspapers, mobile phones and other media are constantly generating images. The artistic phenomenon of "image-oriented" tendency of Chinese contemporary oil painting is based on the product of this kind of image age. In the face of the impact of image on painting, Chinese contemporary oil painting artists conform to the trend of the development of the times, on the basis of absorbing and learning foreign artistic styles, combining with the visual experience of local context, using images and transforming images to carry out personal artistic creation practice. Forming the group art phenomenon of "image" tendency of Chinese contemporary oil painting, This paper analyzes the emergence and appearance of contemporary Chinese oil painting in China by injecting fresh blood into it. This art phenomenon, which has the value orientation of the times and the idea of creation, is expounded. By combing the direction of self-creation of "image", the sensitivity of capturing the special visual feeling formed by the surrounding environment is improved, and the rational use is made of it. This paper is divided into five parts: the first part is the introduction, the content is mainly to explain the object of study, related concepts, and the origin of the topic, the purpose and significance of the study. The second part is to investigate the present situation of the artists with the tendency to create "image" in the contemporary art exhibition, taking the exhibition of "remoulding the History of New Chinese Art from 2000 to 2009" as an example. This paper analyzes the proportion of artists who tend to "image" oil painting creation in this exhibition to participate in the exhibition and the number of winners. It expounds its value in contemporary oil painting creation and summarizes the research situation and guiding significance. The third part is to sort out the background of the creation tendency of Chinese contemporary oil painting "image" and the history of contemporary art development. From the historical experience to find the development of his creative thinking. 4th part of the Chinese contemporary oil painting presented by the "image" creative tendency is summarized and analyzed from two aspects, the first is the drawing on the image, The second is the replacement and reconstruction of the image by painting, and expounds the painting and culture of the tendency to create "image". 5th part is the report of personal creation practice, starting with the creative practice, the author explores the tendency of "image" creation. The conclusion part is a reflection on the tendency of oil painting creation to "image" caused by personal creation practice.
【學(xué)位授予單位】：浙江理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J213

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