發(fā)布時(shí)間：2018-04-12 21:42

  本文選題：圖像轉(zhuǎn)向 + 中國(guó)當(dāng)代油畫(huà)��； 參考：《廣西師范大學(xué)》2010年碩士論文

【摘要】： 隨著經(jīng)濟(jì)與科技的飛速發(fā)展,“圖像”(諸如攝影、電影、廣告等)以前所未有的力度,影響著當(dāng)代文化和生活的諸多層面。其中就包括了當(dāng)代油畫(huà)的創(chuàng)作方面,“圖像”的無(wú)所不在,影響了藝術(shù)家的視覺(jué)經(jīng)驗(yàn),使當(dāng)代油畫(huà)創(chuàng)作呈現(xiàn)出新的面貌�！皥D像轉(zhuǎn)向”這一話(huà)語(yǔ)屬于哲學(xué)范疇。最早由美國(guó)學(xué)者W.J.T·米歇爾提出來(lái),在其《圖像理論》一書(shū)中為20世紀(jì)(特別是20世紀(jì)后半期)的圖像轉(zhuǎn)向提供了富有說(shuō)服力的論據(jù),他認(rèn)為“圖像轉(zhuǎn)向”可以從哲學(xué)和文化理論對(duì)視覺(jué)再現(xiàn)的焦慮,對(duì)形象的恐懼和抵制得到確鑿無(wú)疑的證明。而本文中的“圖像轉(zhuǎn)向”借用這一西方哲學(xué)話(huà)語(yǔ),以闡釋中國(guó)當(dāng)代油畫(huà)的創(chuàng)作呈現(xiàn)的新動(dòng)向。具體表現(xiàn)為:一方面,圖像時(shí)代的到來(lái),使藝術(shù)家的視覺(jué)經(jīng)驗(yàn)發(fā)生了轉(zhuǎn)變,在油畫(huà)創(chuàng)作中表現(xiàn)為繪畫(huà)自身的圖像化傾向和藝術(shù)創(chuàng)作者思想觀(guān)念的轉(zhuǎn)變。另一方面,中國(guó)已進(jìn)入了以空前豐富的視覺(jué)圖像為文化表征的消費(fèi)社會(huì)。消費(fèi)文化的日益入侵使社會(huì)的生存狀態(tài)和文化形態(tài)發(fā)生了改變,這無(wú)疑對(duì)藝術(shù)家的創(chuàng)作思維產(chǎn)生巨大影響,并直接催生了中國(guó)當(dāng)代油畫(huà)審美取向與藝術(shù)表達(dá)方式的變革與創(chuàng)新。當(dāng)代繪畫(huà)的“圖像轉(zhuǎn)向”即是中國(guó)油畫(huà)創(chuàng)作在當(dāng)代文化語(yǔ)境下出現(xiàn)的一個(gè)顯著而普遍的現(xiàn)象。 本文在第一章界定了“圖像轉(zhuǎn)向”在本文中的特定含義并闡釋了油畫(huà)創(chuàng)作“圖像轉(zhuǎn)向“的開(kāi)端。第二章力圖通過(guò)對(duì)中國(guó)當(dāng)代社會(huì)的文化語(yǔ)境、科技、新媒體藝術(shù)的發(fā)展等外在條件和中國(guó)當(dāng)代繪畫(huà)藝術(shù)自身發(fā)展的內(nèi)在動(dòng)因入手分析中國(guó)當(dāng)代油畫(huà)創(chuàng)作的“圖像轉(zhuǎn)向”的緣由,著重指出了中國(guó)當(dāng)代油畫(huà)家思想觀(guān)念轉(zhuǎn)變這一主要內(nèi)在動(dòng)因。第三章對(duì)中國(guó)當(dāng)代油畫(huà)創(chuàng)作的“圖像轉(zhuǎn)向”進(jìn)行分類(lèi)研究,從藝術(shù)家個(gè)體切入,尋求中國(guó)油畫(huà)創(chuàng)作“圖像轉(zhuǎn)向”的當(dāng)代價(jià)值。最后一章探究中國(guó)當(dāng)代油畫(huà)“圖像轉(zhuǎn)向”的內(nèi)在矛盾與現(xiàn)實(shí)的關(guān)聯(lián),即在油畫(huà)創(chuàng)作的圖像化傾向中實(shí)際上還包含著反“圖像“的意義,而最終實(shí)現(xiàn)超越“圖像”的品質(zhì)。反思中國(guó)當(dāng)代油畫(huà)創(chuàng)作“圖像轉(zhuǎn)向”中存在的問(wèn)題如媚俗化傾向、對(duì)繪畫(huà)“技藝”的忽視以及人文價(jià)值的缺失。 本文的寫(xiě)作目的是對(duì)中國(guó)當(dāng)代油畫(huà)“圖像轉(zhuǎn)向”的發(fā)生原因以及發(fā)展現(xiàn)狀做一個(gè)梳理,揭示中國(guó)當(dāng)代油畫(huà)的“圖像轉(zhuǎn)向”不僅表現(xiàn)為繪畫(huà)的圖像化傾向,還包括了藝術(shù)創(chuàng)作者思想觀(guān)念的轉(zhuǎn)變,這一現(xiàn)象的產(chǎn)生并不是偶然的,它體現(xiàn)了美術(shù)發(fā)展的自律性。本文采用了文獻(xiàn)研究法、比較法、個(gè)案研究法、邏輯分析法的研究方法闡明自己的觀(guān)點(diǎn)。希望藝術(shù)創(chuàng)作者們能夠理性對(duì)待中國(guó)當(dāng)代油畫(huà)的“圖像轉(zhuǎn)向”這一現(xiàn)象,將自主的精神性和批判性融為一體,自覺(jué)抵制創(chuàng)作中的一些極端問(wèn)題,認(rèn)識(shí)到油畫(huà)藝術(shù)的發(fā)展在每個(gè)時(shí)代都有其新的可能性,要把握時(shí)代賦予藝術(shù)的精神和意義,從而開(kāi)創(chuàng)中國(guó)當(dāng)代油畫(huà)發(fā)展的新局面。
[Abstract]:With the rapid development of economy and technology, "image" (such as photography, film, advertising, etc.) has an unprecedented impact on many aspects of contemporary culture and life.It includes the creation of contemporary oil painting, the omnipresence of "image", the influence of the artist's visual experience, making contemporary oil painting take on a new look.The discourse of "image turning" belongs to the category of philosophy.First put forward by W.J.T Michele, an American scholar, in his book Image Theory, he provides a convincing argument for the image shift in the 20th century, especially in the second half of the 20th century.He holds that "image turning" can be proved by the anxiety of visual reappearance in philosophy and cultural theory, and the fear and resistance of image.The "image turn" in this paper borrows the western philosophy discourse, in order to explain the new trend of the Chinese contemporary oil painting creation.On the one hand, the arrival of the image age has changed the artist's visual experience.On the other hand, China has entered a consumer society characterized by unprecedented visual images.The increasing invasion of consumer culture has changed the living state and cultural form of the society, which undoubtedly has a great impact on the creative thinking of artists, and has directly spawned the transformation and innovation of aesthetic orientation and artistic expression of contemporary Chinese oil painting.The "image turning" of contemporary painting is a remarkable and universal phenomenon of Chinese oil painting creation in the context of contemporary culture.In the first chapter, the author defines the meaning of "image turning" in this paper and explains the beginning of "image turning".The second chapter tries to analyze the reasons of the "image turning" of contemporary Chinese oil painting creation through the external conditions such as cultural context, science and technology, the development of new media art and the internal motivation of the development of contemporary Chinese painting art.This paper emphatically points out the main internal motivation of the change of Chinese contemporary oil painters' ideology.The third chapter classifies the "image turn" of Chinese contemporary oil painting creation, and explores the contemporary value of Chinese oil painting creation "image turning" from the individual artist.The last chapter explores the relationship between the internal contradiction and reality of the "image turning" of Chinese contemporary oil painting, that is, the anti-" image "meaning is actually included in the tendency of oil painting creation, and the quality of transcending" image "is finally realized.Reflecting on the problems existing in Chinese contemporary oil painting "image turning", such as the tendency of vulgarization, the neglect of painting "skill" and the lack of humanistic value.The purpose of this paper is to make a combing of the cause and development of the "image turning" of contemporary Chinese oil painting, and to reveal that the "image turning" of contemporary Chinese oil painting is not only the tendency of painting image.It also includes the change of artistic creators' ideas, which is not accidental, but reflects the self-discipline of art development.This paper uses the methods of literature research, comparison, case study and logic analysis to clarify their views.It is hoped that artistic creators will be able to deal rationally with the phenomenon of "image turning" in contemporary Chinese oil paintings, integrate their independent spirituality with their critical nature, and consciously resist some extreme problems in their creations.It is recognized that the development of oil painting art has its new possibility in every era, so it is necessary to grasp the spirit and significance given by the times to create a new situation for the development of contemporary Chinese oil painting.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類(lèi)號(hào)】：J213

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