【摘要】：“黃土畫派”是陜西地區(qū)繼“長(zhǎng)安畫派”之后出現(xiàn)的在全國(guó)有巨大影響力、最具代表性的當(dāng)代畫派之一。在深入生活,表現(xiàn)人民的藝術(shù)道路上,“黃土畫派”堅(jiān)持弘揚(yáng)黃土文化、體現(xiàn)黃土精神,在繼承傳統(tǒng)繪畫技法的基礎(chǔ)上,主張吸收世界一切優(yōu)秀藝術(shù)的“精華”,兼容并蓄、博采眾長(zhǎng),以創(chuàng)作具有“黃土畫風(fēng)”、把握時(shí)代脈搏、體現(xiàn)時(shí)代精神的現(xiàn)實(shí)主義作品為己任,成為在全國(guó)頗具規(guī)模并不斷發(fā)展中的“學(xué)院式”的當(dāng)代畫派。本文是對(duì)“黃土畫派”的綜合性研究。文中第一部分從20世紀(jì)美術(shù)思潮演變及近代中國(guó)現(xiàn)實(shí)主義繪畫發(fā)展的背景出發(fā),對(duì)影響“黃土畫派”形成的西北自然與人文環(huán)境、長(zhǎng)安畫派的藝術(shù)實(shí)踐,以及延安革命文藝的發(fā)展予以分析,研究劉文西西北畫風(fēng)的形成,及與受其教育和影響的一批畫家形成群體風(fēng)格,并最終形成畫派的過程;第二部分具體分析“黃土畫派”深入生活的藝術(shù)創(chuàng)作道路,闡述其以采風(fēng)寫生的方式介入生活、感悟生活、提煉生活,在生活中尋找和發(fā)現(xiàn)真、善、美藝術(shù)元素的創(chuàng)作方式;第三部分研究“黃土畫派”的藝術(shù)特色,發(fā)現(xiàn)其注重對(duì)中國(guó)傳統(tǒng)繪畫的繼承,和學(xué)習(xí)世界一切優(yōu)秀藝術(shù)為我所用的藝術(shù)態(tài)度,以及“黃土畫派”在堅(jiān)持現(xiàn)實(shí)主義創(chuàng)作道路中所倡導(dǎo)的“熟悉人、嚴(yán)造型、講筆墨、求創(chuàng)新”藝術(shù)宗旨的內(nèi)涵;第四部分對(duì)“黃土畫派”的創(chuàng)作主題、導(dǎo)向及思路進(jìn)行分析,研究其以黃土地人文風(fēng)情為主題的藝術(shù)創(chuàng)作所體現(xiàn)出的黃土文化的美學(xué)特征,及其堅(jiān)持以人民為中心的創(chuàng)作導(dǎo)向所體現(xiàn)出的強(qiáng)烈的社會(huì)責(zé)任感,“黃土畫派”這種弘揚(yáng)社會(huì)主旋律的藝術(shù)追求,使其成為當(dāng)代繪畫領(lǐng)域正能量的代表,體現(xiàn)出在社會(huì)主流意識(shí)形態(tài)下,文藝作品反映社會(huì)發(fā)展、時(shí)代進(jìn)步的主流趨勢(shì)在社會(huì)主義發(fā)展大潮中產(chǎn)生的積極作用。“黃土畫派”藝術(shù)從萌芽到形成及不斷發(fā)展的過程,可以看作是當(dāng)代中國(guó)畫尤其是人物畫主題創(chuàng)作的重要發(fā)展方向之一。“黃土畫派”在作品立意、審美,以及藝術(shù)追求等方面豐富地展現(xiàn)出當(dāng)代中國(guó)畫創(chuàng)作及審美理念的發(fā)展過程,其正在進(jìn)行中的多元的藝術(shù)探索方向,也為中國(guó)畫未來(lái)的發(fā)展提供更為豐富的可能性。對(duì)于“畫派”的研究,尤其是對(duì)當(dāng)代“畫派”的認(rèn)識(shí)盡管存在諸多爭(zhēng)議,但“黃土畫派”的存在已是不爭(zhēng)的事實(shí)。對(duì)其進(jìn)行客觀的、動(dòng)態(tài)的關(guān)注和適時(shí)的研究,是對(duì)當(dāng)代繪畫發(fā)展現(xiàn)狀研究的重要組成部分。因此,筆者以“黃土畫派”為研究對(duì)象,并打破以往對(duì)畫派成員個(gè)體繪畫成就為主的論述而突出“群體”的概念,通過本文的分析與研究,以圖呈現(xiàn)出當(dāng)前以劉文西為代表的“黃土畫派”及其發(fā)展過程中的總體藝術(shù)風(fēng)貌,為以后進(jìn)一步研究奠定基礎(chǔ)。
[Abstract]:Loess painting School is one of the most representative contemporary painting schools in Shaanxi Province. On the art road of deep life and people's expression, "Loess painting School" insists on carrying forward loess culture and embodying loess spirit. On the basis of inheriting traditional painting techniques, it advocates absorbing the "essence" of all excellent art in the world and embracing it. With the responsibility of creating realistic works with "loess painting style", grasping the pulse of the times and embodying the spirit of the times, he became a "college style" contemporary painting school with considerable scale and continuous development in the whole country. This paper is a comprehensive study of Loess painting School. The first part of the article starts from the evolution of art trend in the 20th century and the background of the development of realistic painting in modern China, and analyzes the artistic practice of Chang'an painting School, which influences the natural and human environment of the formation of "Loess painting School" in Northwest China. It also analyzes the development of Yan'an revolutionary literature and art, studies the formation of Liu Wenxi's northwest painting style, and the process of forming a group style with a group of painters influenced by Liu Wenxi's education and influence, and finally forms a painting school. The second part concretely analyzes the art creation way of "Loess painting School", and expounds its creative ways of intervening in life, feeling life, refining life, seeking and discovering truth, goodness and beauty art elements in life by the way of drawing wind and sketching. The third part studies the artistic characteristics of "Loess painting School", and finds that it pays attention to the inheritance of Chinese traditional painting and the attitude of learning all the excellent art in the world. And "Loess painting" in adhering to the road of realism advocated in the creation of "familiar with people, strict modeling, pay attention to pen and ink, innovation" artistic purpose of connotation; The fourth part analyzes the theme, orientation and train of thought of "Loess painting School", and studies the aesthetic characteristics of loess culture embodied in its artistic creation with the theme of cultural customs of loess. And the strong sense of social responsibility embodied in the people-centered creative orientation, the artistic pursuit of "Loess painting School" to carry forward the main social melody, making it a representative of positive energy in the field of contemporary painting, Under the social mainstream ideology, literary works reflect the social development, and the mainstream trend of the times' progress plays an active role in the socialist development. The art of "Loess painting School" can be regarded as one of the important developing directions of contemporary Chinese painting, especially figure painting theme creation. "Loess painting School" shows the development process of contemporary Chinese painting creation and aesthetic idea in the aspects of idea, aesthetics and pursuit of art, which is in the process of multi-artistic exploration. Also for the future development of Chinese painting to provide a richer possibility. Although there are many controversies on the study of "painting school", especially on the understanding of contemporary "painting school", the existence of "loess painting school" is an indisputable fact. An objective, dynamic and timely study is an important part of the research on the present situation of contemporary painting. Therefore, the author takes "Loess painting School" as the research object, and breaks the previous exposition on the individual painting achievement of its members and highlights the concept of "group", and through the analysis and research of this paper, The present "Loess painting School" represented by Liu Wenxi and its overall artistic features in the process of its development lay the foundation for further study.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J209.9
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本文編號(hào)：2300218