本文選題：東北地區(qū)油畫 + 造型發(fā)展��； 參考：《東北師范大學》2017年博士論文

【摘要】：造型藝術伴隨著人類的文明演進,從簡單的上古巖畫逐漸地豐富和發(fā)展,衍變成了由繪畫、雕塑、攝影和建筑、工藝美術等藝術形式共同組成的一個龐大的藝術家族。而繪畫藝術中造型的歷史其實就是一部觀念更新的歷史。對造型的理解不僅僅是藝術家的創(chuàng)造,更為重要的是時代的變遷以及審美方式的改變也影響了藝術家的判斷。我們可以通過造型本身了解作品所生成的環(huán)境,種族、時代,以及悄然發(fā)生改變的觀念。如果把造型當作打開藝術家觀念的鑰匙,莫不如說是時代改變了對造型的認知。而東北地區(qū)油畫造型的發(fā)展演變同樣也受到了上述因素的影響,通過東北地區(qū)油畫造型的發(fā)展我們可以了解作品背后生成的動因,每一件油畫作品不是孤立存在著的,而是通過造型的特點進入到東北地區(qū)油畫演變的過程之中,試圖通過造型的演變找到東北地區(qū)油畫造型的共性。藝術家、作品、時代等共同形成了一條無法割裂的紐帶,分析地域作品的同時要將它放置到屬于自身的時間與空間,試圖接近真相,找到東北地區(qū)油畫造型的突出特征。而內容框架結構分為上篇、中篇、下篇、外篇、結論,上篇主要論述東北油畫造型所關聯(lián)的文化背景對其的影響;而中篇是研究東北油畫造型形成的內因與演變,尤其是以1985年中國現(xiàn)代社會的歷史轉折點為界所進行的分析;下篇是東北代表性油畫家的作品分析;外篇是東北地域文化與油畫造型特征的演變;最后是結論部分,得出東北油畫造型的演變特征。上篇為第一章;通過東北文化背景的分析來說明對于東北油畫造型演變的影響。中篇為第二章;第二章是通過油畫作品的形式與圖像的關系來分析作品造型形成的背后動因;第三章是下篇(人物志),通過代表性東北油畫家的不同階段的作品來分析東北地區(qū)油畫造型一些多樣復雜的特征。而第四章是外篇;集中討論地域文化對于東北油畫造型的影響;第五章是結論部分,集中系統(tǒng)的論證了東北地區(qū)油畫造型發(fā)展演變的過程。
[Abstract]:With the evolution of human civilization, plastic arts gradually enriched and developed from simple ancient rock paintings to a huge art family composed of painting, sculpture, photography, architecture, arts and crafts and so on. The history of modeling in painting art is actually a history of concept renewal. The understanding of modeling is not only the creation of artists, but also the change of times and aesthetic style. We can understand the environment, race, times, and the concept of change in the form itself. If you think of modeling as the key to the artist's idea, it's not more about the times that change the perception of modeling. The development and evolution of oil painting modeling in Northeast China is also affected by the above factors. Through the development of oil painting modeling in Northeast China, we can understand the motivation behind the production of oil paintings, and every oil painting work does not exist in isolation. But through the characteristics of modeling into the process of oil painting evolution in Northeast China, trying to find the common features of oil painting modeling in Northeast China through the evolution of modeling. Artists, works, times and so on have formed a bond that can not be separated together. When analyzing regional works, we should put them into their own time and space, try to get close to the truth and find the prominent features of oil painting modeling in Northeast China. The structure of the content frame is divided into the first part, the second part, the conclusion, the first part mainly discusses the influence of the cultural background associated with the Northeast oil painting modeling, and the second part is to study the internal cause and evolution of the formation of the Northeast oil painting modeling. Especially the analysis based on the historical turning point of China's modern society in 1985; the second part is the analysis of the works of the Northeast representative oil painters; the outer part is the evolution of the northeast regional culture and oil painting modeling characteristics; the last part is the conclusion part. The evolution characteristics of oil painting modeling in Northeast China are obtained. The first chapter is the first chapter. Through the analysis of northeast culture background, it explains the influence on the evolution of northeast oil painting modeling. The second chapter is the second chapter, the second chapter is through the oil painting form and the image relations to analyze the work modelling formation behind the motive; The third chapter is the second part (character Records), through the representative Northeast oil painters' works in different stages to analyze some complex features of oil painting modeling in Northeast China. And the fourth chapter is the external part; focuses on the impact of regional culture on the Northeast oil painting modeling; the fifth chapter is the conclusion, focusing on the system of the Northeast oil painting modeling development and evolution of the process.
【學位授予單位】：東北師范大學
【學位級別】：博士
【學位授予年份】：2017
【分類號】：J213

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