本文關(guān)鍵詞：《朝鮮族女子》系列油畫創(chuàng)作與研究　出處：《延邊大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 中國美學(xué) 民族特色 時(shí)代感 個(gè)人情懷 含蓄美 朝鮮族姑娘

【摘要】：如何在油畫創(chuàng)作中融入中國美學(xué)的意境和民族特色之美是我一直以來研究的課題。因此本文旨在探討此次《朝鮮族女子》系列油畫創(chuàng)作的意義、過程與結(jié)論。我將以中國美學(xué)思想作為我的理論基礎(chǔ),借助于油畫材料表現(xiàn)朝鮮民女子的含蓄之美,以這種特別的民族魅力表現(xiàn)我的個(gè)人情思。經(jīng)濟(jì)全球化的大背景下,人們的腳步越來越快,注重經(jīng)濟(jì)發(fā)展的同時(shí),民風(fēng)民俗已然成為被淡忘的對(duì)象,我的家鄉(xiāng)朝鮮族自治州延邊,必不可免的在這種大環(huán)境下正在一點(diǎn)點(diǎn)的失去曾經(jīng)少數(shù)民族區(qū)域的魅力,對(duì)這片土地充滿人文情懷的我想以我的方式捕捉家鄉(xiāng)的民族味道,同時(shí)我也正處于此次創(chuàng)作中女子一樣的花信年華,對(duì)未來有憧憬也有憂慮,用中國美學(xué)的理念塑造的她們,不如說就是我自己。藝術(shù)創(chuàng)作不僅需要個(gè)人情懷,也需要本民族的傳統(tǒng)文化、美學(xué)思想作為基礎(chǔ),因?yàn)橛袀鞒胁艜?huì)有超越.若想將民族文化魅力進(jìn)行合理地利用與創(chuàng)新,就需要深刻學(xué)習(xí)和體會(huì)傳統(tǒng)文化藝術(shù),體悟傳統(tǒng)民族特色之美的歷史淵源與藝術(shù)張力。只有將這種民族之美(形式美與精神美)、時(shí)代感和創(chuàng)作者的個(gè)人情懷進(jìn)行有機(jī)結(jié)合,才能讓這種民族文化生生不息。這看起來并不是一個(gè)容易的事,卻是很有意義的一個(gè)過程。萬事萬物的運(yùn)轉(zhuǎn)規(guī)律其本質(zhì)都是一樣的,所以我認(rèn)為傳統(tǒng)藝術(shù)與當(dāng)代人的思想一定有一個(gè)可以契合的點(diǎn),我一直在不斷的探索這個(gè)契合點(diǎn),希望盡早可以將它盡善盡美的展現(xiàn)在我的畫布上。中國美學(xué)的意境在于空白中有萬物,單色中有萬色,因此在我的創(chuàng)作中有大面積的"空"與人物形象形成極大的反差,追求畫面整體的大節(jié)奏,這種"空"也留給觀眾無限的想象空間。當(dāng)然油畫區(qū)別于中國畫在于"不留白"因此我創(chuàng)作中的所謂"空"也都是與主體人物的基本色調(diào)相同的豆沙紅,在"空"中有冷、暖色相,追求"單色中有萬色"。主體人物同樣追求這種中國美學(xué)的色彩表現(xiàn),"墨分無色",豆沙紅色系中,有冷色,有暖色,有相對(duì)深色,亦有相對(duì)淺色,整體色彩統(tǒng)一籠罩在豆沙紅色系中,這種豆沙紅是我個(gè)人的偏愛,也是我反觀世界的情緒。塑造朝鮮族姑娘時(shí),我采用了寫實(shí)手法,在寫實(shí)過程中追求虛實(shí)變化,盡可能的表現(xiàn)朝鮮族的含蓄美。在這次畢業(yè)創(chuàng)作中我似乎探索到民族傳統(tǒng)美與現(xiàn)代審美意識(shí)的契合點(diǎn),傳統(tǒng)與當(dāng)代不會(huì)相背離,會(huì)有恰當(dāng)?shù)姆绞较噍o相成,傳統(tǒng)美成就現(xiàn)代美,現(xiàn)代美也會(huì)發(fā)展傳統(tǒng)美,我想這才是當(dāng)今中國畫者應(yīng)當(dāng)探求的創(chuàng)新。為了方便閱讀研究,我將本篇論文分為四個(gè)章節(jié)來進(jìn)行闡述。第一章主要論述此次創(chuàng)作的課題背景、研究內(nèi)容與目的。第二章主要從創(chuàng)作的立意與構(gòu)思概述《朝鮮族女子》系列作品的創(chuàng)作觀念。第三章從創(chuàng)作的經(jīng)營構(gòu)圖、形象塑造、色彩表現(xiàn)方面論述《朝鮮族女子》系列的創(chuàng)作過程。第四章是對(duì)此次畢業(yè)創(chuàng)作的總結(jié)。
[Abstract]:How to integrate the artistic conception of Chinese aesthetics and the beauty of national characteristics into the oil painting creation is my research topic all the time. Process and conclusion. I will take the Chinese aesthetic thought as my theoretical basis and express the implicit beauty of Korean women with the help of oil painting materials. With this special national charm to express my personal feelings. Under the background of economic globalization, people's steps are getting faster and faster. While paying attention to economic development, folk customs have become the forgotten object. Yanbian, my hometown of Korea Autonomous Prefecture, is inevitably losing the charm of the once ethnic minority areas in such a big environment. On this land full of humanistic feelings I want to capture the flavor of my hometown, at the same time, I am also in the creation of women like the credit years, there is hope for the future and worry. Artistic creation not only needs personal feelings, but also needs the traditional culture and aesthetic thought of this nation as the basis. If we want to make rational use and innovation of the charm of national culture, we need to deeply study and understand the traditional culture and art. To understand the historical origin and artistic tension of the beauty of traditional national characteristics, only this kind of national beauty (formal beauty and spiritual beauty), the sense of the times and the personal feelings of the creators can be combined organically. This is not an easy thing, but it is a very meaningful process. The operation of all things is the same in nature. So I think that there must be a point where the traditional art and contemporary people's thinking can fit, I have been exploring this point of convergence. I hope it can be displayed on my canvas as soon as possible. The artistic conception of Chinese aesthetics is that there are everything in the blank and ten thousand colors in the monochrome. Therefore, in my creation there is a large area of "empty" and the character image of the formation of a great contrast, the pursuit of the overall picture of the big rhythm. Of course, the difference between oil painting and Chinese painting lies in "no white" so the so-called "empty" in my creation is also the same as the main character's basic tone of bean sand red. In the "empty" there are cold, warm color phase, the pursuit of "monochrome has ten thousand colors." the main characters also pursue this Chinese aesthetic color performance, "ink colorless", bean sand red color, there is cold color, there is warm color. There is a relatively dark color, but also a relatively light color, the overall color unified shrouded in the red bean sauce, this red bean is my personal preference, but also my reflection of the world's mood. When shaping Korean girls. I used realistic techniques, in the process of realistic pursuit of virtual changes, as much as possible to show the implied beauty of Korean nationality. In this graduation creation, I seem to explore the national traditional beauty and modern aesthetic awareness of the convergence point. Tradition and contemporary will not deviate from each other, there will be appropriate ways to complement each other, traditional beauty will achieve modern beauty, modern beauty will also develop traditional beauty. I think this is the innovation that the contemporary Chinese painters should explore. In order to facilitate the study of reading, I divide this paper into four chapters to elaborate. The first chapter mainly discusses the background of this subject. Research content and purpose. The second chapter mainly from the creative ideas and ideas of "Korean Women" series of creative ideas. Chapter three from the creation of business composition, image molding. Color performance of the Korean women series of creative process. 4th chapter is a summary of the graduation creation.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J213

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