本文選題：鄉(xiāng)情系列 + 創(chuàng)作構(gòu)思　； 參考：《延邊大學(xué)》2017年碩士論文

【摘要】：在繪畫史中,對(duì)鄉(xiāng)土題材的描繪經(jīng)歷了幾個(gè)世紀(jì)的發(fā)展,從文藝復(fù)興開(kāi)始,新時(shí)代的藝術(shù)家們不再滿足于繼承前人的創(chuàng)作模式,他們開(kāi)始對(duì)周圍的現(xiàn)實(shí)生活產(chǎn)生興趣,以一種新的眼光來(lái)觀察身邊所發(fā)生的一切,不再單一的以宗教題材為創(chuàng)作主體,不再只服務(wù)于宗教和階級(jí)統(tǒng)治。一些畫家們開(kāi)始描繪田園自然風(fēng)光。風(fēng)景不再以單純的畫面背景的形式存在,逐漸的從傳統(tǒng)的繪畫當(dāng)中脫離出來(lái),形成獨(dú)立的繪畫題材。在每個(gè)時(shí)代中,雖然他們的繪畫風(fēng)格,表現(xiàn)手法都各有不同,但是每一幅作品中都承載他們對(duì)當(dāng)時(shí)社會(huì)、人文及鄉(xiāng)土情懷特殊的情感。本文旨在通過(guò)《鄉(xiāng)情風(fēng)景系列》作品來(lái)學(xué)習(xí)鄉(xiāng)土風(fēng)景油畫。該系列作品主要是在表述家鄉(xiāng)的特點(diǎn)及家鄉(xiāng)情懷的基礎(chǔ)上,以自己的探索,通過(guò)畫面的構(gòu)成、繪畫技法和綜合材料的運(yùn)用來(lái)展現(xiàn)整個(gè)系列的作品。我希望能通過(guò)畫面與觀賞者產(chǎn)生共鳴,使其對(duì)鄉(xiāng)土題材繪畫創(chuàng)作有更進(jìn)一步的理解,領(lǐng)悟鄉(xiāng)土題材繪畫中的特殊情感。文章分為三大章節(jié):第一章緒論主要介紹了《鄉(xiāng)情風(fēng)景系列》繪畫的創(chuàng)作背景、研究?jī)?nèi)容、目的和意義。遠(yuǎn)在他鄉(xiāng)對(duì)家鄉(xiāng)的思念及情感和鄉(xiāng)村城鎮(zhèn)化政策的實(shí)施,促使我確定了創(chuàng)作的題材,通過(guò)自己的畫筆記錄下家鄉(xiāng)村莊自然風(fēng)光、風(fēng)土人情。通過(guò)家鄉(xiāng)的風(fēng)景創(chuàng)作研究,形成自己的繪畫語(yǔ)言和表達(dá)方式,對(duì)今后個(gè)人藝術(shù)創(chuàng)作具有一定的理論指導(dǎo)意義。第二章主要描述我的創(chuàng)作過(guò)程,在創(chuàng)作構(gòu)思、選材、構(gòu)圖、技法、綜合材料運(yùn)用五個(gè)主要方面做了詳細(xì)的描述。第三章總結(jié)研究生階段的繪畫實(shí)踐、創(chuàng)作時(shí)的情感表達(dá)、自己繪畫語(yǔ)言的形成和以后繪畫研究方向。
[Abstract]:In the history of painting, the description of local themes has experienced several centuries of development. From the Renaissance onwards, the artists of the new era are no longer satisfied with inheriting their predecessors' creative models, and they begin to have an interest in the real life around them. Observing what happened around us with a new vision is no longer a single subject of religious creation, but no longer serves only religion and class rule. Some painters began to paint idyllic scenery. Landscape no longer exists in the form of pure background, gradually from the traditional painting out, forming an independent painting subject matter. In each era, although their painting style and expression techniques are different, but each piece of work carries their special feelings for the society, humanities and local feelings at that time. The purpose of this paper is to study the local landscape oil painting through the works of "the scenery Series of the Countryside". This series of works is mainly on the basis of expressing the characteristics and feelings of the hometown, with its own exploration, through the composition of the picture, painting techniques and the use of comprehensive materials to show the whole series of works. I hope to empathize with the viewer through the pictures, so that they can have a better understanding of the local painting creation, and understand the special emotion in the local painting. The article is divided into three chapters: the first chapter introduces the background, content, purpose and significance of painting. The yearning and emotion of my hometown and the implementation of the policy of urbanization have prompted me to determine the theme of my creation and record the natural scenery of my hometown village through my own brush. Through the study of landscape creation in my hometown, the author forms his own painting language and expression, which has certain theoretical guiding significance for personal artistic creation in the future. The second chapter mainly describes my creative process, in creative design, material selection, composition, techniques, comprehensive material use of five main aspects of a detailed description. The third chapter summarizes the painting practice of graduate students, the expression of emotion in creation, the formation of their own painting language and the future direction of painting research.
【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

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 杜文萍;鄉(xiāng)土風(fēng)景油畫的創(chuàng)作發(fā)展[D];沈陽(yáng)師范大學(xué);2016年

2 李宏偉;油畫風(fēng)景的創(chuàng)作思考[D];哈爾濱師范大學(xué);2013年

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本文編號(hào)：1944752