發(fā)布時(shí)間：2019-03-09 15:38

【摘要】： 影像化傾向的創(chuàng)作是中國(guó)當(dāng)代油畫中的一種較普遍的創(chuàng)作表現(xiàn)方式。它與大眾文化、消費(fèi)文化、網(wǎng)絡(luò)文化、影像技術(shù)以及其它現(xiàn)當(dāng)代藝術(shù)等有著非常緊密的聯(lián)系。作為一種藝術(shù)創(chuàng)作潮流,油畫影像化的傾向有著自己存在的沃土和發(fā)展的緣由。首先、它與當(dāng)下的社會(huì)文化氛圍緊密相連；第二、它是藝術(shù)內(nèi)在規(guī)律的發(fā)展需要：第三、數(shù)字化技術(shù)的發(fā)展成為油畫影像化的重要?jiǎng)右�；第四、青年藝術(shù)家籍此發(fā)出自己的聲音和轉(zhuǎn)向內(nèi)心的表達(dá)方式。 本文對(duì)當(dāng)代油畫創(chuàng)作中的影像化特征進(jìn)行了梳理和分析,并對(duì)這一藝術(shù)現(xiàn)象所蘊(yùn)含的社會(huì)意義和價(jià)值指向進(jìn)行了發(fā)掘和闡述,試圖為中國(guó)當(dāng)代油畫的相關(guān)方面的學(xué)理研究添磚加瓦。 文中主要分為六個(gè)部分：第一部分為緒論,主要對(duì)本文的研究目的、意義以及相關(guān)概念進(jìn)行闡述；第二部分探討影像化傾向創(chuàng)作方式的現(xiàn)狀,主要從美術(shù)展覽、高等院校的角度來(lái)描述其現(xiàn)狀,并給出了實(shí)例；第三部分論述當(dāng)代油畫創(chuàng)作中影像化傾向的生成；第四部分論述的是影像化傾向繪畫的呈現(xiàn)方式,包括對(duì)攝影圖片、公共圖像、卡通游戲等資源的再創(chuàng)作、再運(yùn)用和再發(fā)現(xiàn)等；第五部分為對(duì)影像化傾向的意義訴求進(jìn)行分析；第六部分為結(jié)語(yǔ),主要對(duì)藝術(shù)與科學(xué)的關(guān)系進(jìn)行了一些思索。
[Abstract]:The creation of image tendency is a more common way of expression in Chinese contemporary oil painting. It is closely related to popular culture, consumer culture, network culture, image technology and other modern and contemporary art. As a trend of artistic creation, the tendency of oil painting visualization has its own fertile soil and development reasons. First, it is closely connected with the current social and cultural atmosphere; second, it is the development of the inherent law of art needs: thirdly, the development of digital technology has become an important motivation for the image of oil painting; Fourth, young artists use this to send out their own voice and turn to the inner way of expression. This article combs and analyzes the image characteristics of contemporary oil painting creation, and explores and expounds the social significance and value orientation of this artistic phenomenon. This paper attempts to contribute to the theoretical research on the relevant aspects of Chinese contemporary oil painting. The paper is divided into six parts: the first part is the introduction, mainly on the purpose, significance and related concepts of this study; The second part discusses the current situation of the creation of image tendency, mainly from the perspective of art exhibition, colleges and universities to describe its current situation, and gives an example; the third part discusses the formation of image tendency in contemporary oil painting creation, and the third part discusses the formation of image tendency in contemporary oil painting creation. The fourth part discusses the presentation of image-oriented painting, including photography, public images, cartoon games and other resources of re-creation, re-use and re-discovery, etc. The fifth part is to analyze the significance of the tendency to image. The sixth part is the conclusion, which mainly ponders the relationship between art and science.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J213

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 劉燕;簡(jiǎn)析東西方“影像繪畫”[D];曲阜師范大學(xué);2011年

2 秦冬霞;論攝影藝術(shù)在陶瓷裝飾設(shè)計(jì)中的運(yùn)用[D];景德鎮(zhèn)陶瓷學(xué)院;2012年

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本文編號(hào)：2437607