20世紀90年代中國油畫創(chuàng)作現(xiàn)狀思考
發(fā)布時間：2018-12-12 01:30
【摘要】：20世紀90年代的中國油畫家,在意識形態(tài)、社會心態(tài)和大眾通俗文化藝術(shù)面前,正經(jīng)歷著當代文化的嚴峻考驗,他們作為社會神經(jīng)中樞的一部分,凝聚感知著中國人的生存經(jīng)驗,對文化現(xiàn)狀、歷史動態(tài)和精神取向都保持著獨立思考和深刻體驗。當時美術(shù)界一個極為重要的變化是,油畫家正改變著有史以來的依附狀態(tài),這種狀態(tài)在90年代油畫創(chuàng)作中得到了充分地體現(xiàn)。20世紀90年代的文化意識自覺成為這一時期眾多油畫家的審美追求,在通向現(xiàn)代文明的進程中,他們的著眼點已不再局限于單純的物質(zhì)層次,而是開始向民族文化心理的深層次探索。這并非是藝術(shù)界所獨有的偶然現(xiàn)象,而是這一代人經(jīng)過深思熟慮后所悟出的深刻哲理。然而,從油畫發(fā)展的本體意義來講,進入90年代,中國油畫以其展覽頻繁、題材廣泛、作品數(shù)量眾多而彰顯了中國當代油畫創(chuàng)作的高水準,是“新時期”美術(shù)發(fā)展的新階段。它承續(xù)了80年代“新潮美術(shù)”的部分創(chuàng)作理念,并為當下油畫創(chuàng)作的發(fā)展做出了新的探索和鋪墊。畫家在凸顯個性、廣泛吸收西方優(yōu)秀藝術(shù)的同時,開始注重藝術(shù)精神向本土文化回歸,這是中國油畫20世紀末最為重要的學術(shù)思考成果。這些成果,顯然已成為代表國家藝術(shù)形象、順應(yīng)國家文藝方針、承載本土繪畫語言同國際藝術(shù)形態(tài)接軌并獲取認可的有利方式,進一步揭示了中國油畫格局變遷與文化身份漸次轉(zhuǎn)型的發(fā)展態(tài)勢。20世紀90年代,中國油畫的多樣化發(fā)展具有深刻的社會背景,中國社會的轉(zhuǎn)型和國際文化思潮都對中國油畫多樣化發(fā)展產(chǎn)生過深刻的影響。從90年代全國各地舉辦的多次大型油畫展的獲獎作品來看,中國油畫在主體意識、油畫觀念更新和油畫隊伍建設(shè)等方面都取得了一定的成績,但由于社會風氣和商品經(jīng)濟的沖擊,油畫界也存在著一些不良風氣,急功近利、矯柔媚俗、文化底蘊不足導(dǎo)致社會功能減弱、精神內(nèi)涵欠缺等問題頗為突出。盡管如此,20世紀90年代的油畫在中國油畫史上依然占有重要的地位,并在油畫人才儲備,理論創(chuàng)新等方面為新時期中國油畫的進一步發(fā)展奠定了基礎(chǔ)。
[Abstract]:In the 1990s, Chinese oil painters, in the face of ideology, social mentality and popular culture and art, are experiencing a severe test of contemporary culture. They are part of the social nerve center. It condenses and perceives the Chinese living experience, and maintains independent thinking and profound experience on the cultural status, historical dynamics and spiritual orientation. One of the most important changes in the art world at that time was that oil painters were changing the state of attachment that they had ever seen. The cultural consciousness of the 1990s became the aesthetic pursuit of many oil painters in this period, and in the process of leading to modern civilization, Their focus is no longer confined to the pure material level, but to the deep level of the national cultural psychology. This is not a unique accident in the art world, but the profound philosophy of this generation. However, from the Noumenon meaning of oil painting development, Chinese oil painting is the new stage of art development in the "new period" because of its frequent exhibitions, extensive subjects, numerous works and high standard of Chinese contemporary oil painting creation. It inherits some of the creative ideas of modern art in 1980's, and makes a new exploration and foreshadowing for the development of oil painting. The painters began to pay attention to the return of the artistic spirit to the native culture, which was the most important academic thinking achievement at the end of the 20th century of Chinese oil painting. These achievements have obviously become a favorable way to represent the national artistic image, to conform to the national literary and artistic policy, to carry the local painting language in line with the international art form and to gain recognition. It further reveals the development trend of the changing pattern of Chinese oil painting and the gradual transformation of cultural identity. In the 1990s, the diversified development of Chinese oil painting has a profound social background. The transformation of Chinese society and the international cultural trend have exerted profound influence on the diversified development of Chinese oil painting. Judging from the award-winning works of many large-scale oil painting exhibitions held throughout the country in the 1990s, Chinese oil paintings have made certain achievements in terms of their subjective consciousness, the renewal of oil painting concepts and the building of oil painting teams. However, due to the impact of social atmosphere and commodity economy, there are some bad atmosphere in oil painting circles, such as eager for quick success and quick profit, soft and vulgar, lack of cultural background, weakening of social function, lack of spiritual connotation and so on. Nevertheless, oil painting in the 1990s still occupies an important position in the history of Chinese oil painting, and has laid a foundation for the further development of Chinese oil painting in the new period in the fields of oil painting talent reserve, theoretical innovation and so on.
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J213
本文編號：2373624
[Abstract]:In the 1990s, Chinese oil painters, in the face of ideology, social mentality and popular culture and art, are experiencing a severe test of contemporary culture. They are part of the social nerve center. It condenses and perceives the Chinese living experience, and maintains independent thinking and profound experience on the cultural status, historical dynamics and spiritual orientation. One of the most important changes in the art world at that time was that oil painters were changing the state of attachment that they had ever seen. The cultural consciousness of the 1990s became the aesthetic pursuit of many oil painters in this period, and in the process of leading to modern civilization, Their focus is no longer confined to the pure material level, but to the deep level of the national cultural psychology. This is not a unique accident in the art world, but the profound philosophy of this generation. However, from the Noumenon meaning of oil painting development, Chinese oil painting is the new stage of art development in the "new period" because of its frequent exhibitions, extensive subjects, numerous works and high standard of Chinese contemporary oil painting creation. It inherits some of the creative ideas of modern art in 1980's, and makes a new exploration and foreshadowing for the development of oil painting. The painters began to pay attention to the return of the artistic spirit to the native culture, which was the most important academic thinking achievement at the end of the 20th century of Chinese oil painting. These achievements have obviously become a favorable way to represent the national artistic image, to conform to the national literary and artistic policy, to carry the local painting language in line with the international art form and to gain recognition. It further reveals the development trend of the changing pattern of Chinese oil painting and the gradual transformation of cultural identity. In the 1990s, the diversified development of Chinese oil painting has a profound social background. The transformation of Chinese society and the international cultural trend have exerted profound influence on the diversified development of Chinese oil painting. Judging from the award-winning works of many large-scale oil painting exhibitions held throughout the country in the 1990s, Chinese oil paintings have made certain achievements in terms of their subjective consciousness, the renewal of oil painting concepts and the building of oil painting teams. However, due to the impact of social atmosphere and commodity economy, there are some bad atmosphere in oil painting circles, such as eager for quick success and quick profit, soft and vulgar, lack of cultural background, weakening of social function, lack of spiritual connotation and so on. Nevertheless, oil painting in the 1990s still occupies an important position in the history of Chinese oil painting, and has laid a foundation for the further development of Chinese oil painting in the new period in the fields of oil painting talent reserve, theoretical innovation and so on.
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J213
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相關(guān)期刊論文 前1條
1 張祖英;走向新世紀的中國油畫——關(guān)于中國精神文化的思考[J];美苑;1996年03期
相關(guān)博士學位論文 前1條
1 聶道汨;20世紀90年代以來中國古典風肖像油畫語言研究[D];中國藝術(shù)研究院;2014年
，本文編號：2373624
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