本文關(guān)鍵詞： 龐茂琨 “場(chǎng)景”圖像 當(dāng)代　出處：《西南大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：進(jìn)入90年代以來(lái),隨著改革開放和市場(chǎng)化經(jīng)濟(jì)的推進(jìn),當(dāng)代中國(guó)的經(jīng)濟(jì)、文化得到了長(zhǎng)足的發(fā)展�？萍嫉倪M(jìn)步、社會(huì)的轉(zhuǎn)型、西方文化思潮的涌入,這些都改變了人們單一的思維模式。在經(jīng)歷了“85美術(shù)新潮”的思想啟蒙后,藝術(shù)創(chuàng)作觀念發(fā)生了巨大的轉(zhuǎn)變,許多當(dāng)代油畫家開始遠(yuǎn)離“宏大敘事”,將視角集中在社會(huì)的現(xiàn)實(shí)問(wèn)題,藝術(shù)家開始以自己獨(dú)特的藝術(shù)思維介入當(dāng)代社會(huì)。以“政治波普”、“玩世現(xiàn)實(shí)主義”、“后生代”為代表的繪畫潮流層出不窮。在風(fēng)格各異的當(dāng)代藝術(shù)的“夾擊”下,傳統(tǒng)古典寫實(shí)油畫在某種程度上依然處于邊緣狀態(tài),如何實(shí)現(xiàn)古典寫實(shí)油畫的當(dāng)代轉(zhuǎn)型就成為了許多藝術(shù)家不可回避的一個(gè)問(wèn)題。作為一個(gè)獨(dú)特的個(gè)案,龐茂琨近年的油畫創(chuàng)作為這個(gè)問(wèn)題提供了一個(gè)有益的參照。作為當(dāng)代寫實(shí)油畫的代表人物之一,龐茂琨的作品在全國(guó)享有較為重要的影響力。從附中到研究生,四川美院十年的系統(tǒng)訓(xùn)練造就了龐茂琨扎實(shí)的寫實(shí)技藝。無(wú)論是早期的鄉(xiāng)土繪畫,還是90年代以都市女性、家人朋友為題材的創(chuàng)作,精湛的古典技法和唯美恬靜的審美理想一直是其創(chuàng)作最大的特點(diǎn)。但是,龐茂琨并不滿足于固守既有的創(chuàng)作模式,而是置身于時(shí)代的發(fā)展與變革,不斷探索古典繪畫語(yǔ)言在當(dāng)代的表達(dá)方式,近年來(lái)諸如《邂逅》、《鏡花緣》等創(chuàng)作標(biāo)志著龐茂琨繪畫風(fēng)格的巨大轉(zhuǎn)變。在延續(xù)以往古典繪畫語(yǔ)言的同時(shí)融入了更為多元的藝術(shù)表現(xiàn)手法。挪用、并置、超現(xiàn)實(shí)這些以往從未采用的表現(xiàn)語(yǔ)言開始大量出現(xiàn),并取得了很好的效果。當(dāng)代藝術(shù)一個(gè)重要的特點(diǎn)就是強(qiáng)調(diào)藝術(shù)對(duì)生活的介入,藝術(shù)不僅僅止于形式語(yǔ)言的內(nèi)部“游戲”,而應(yīng)當(dāng)立足于現(xiàn)實(shí)文化背景,參與到社會(huì)的進(jìn)程中,并以藝術(shù)的方式思考。在這一點(diǎn)上,龐茂琨較好地實(shí)現(xiàn)了平衡,在保持自己成熟的繪畫語(yǔ)言的同時(shí)又不喪失對(duì)社會(huì)的思考。本文立足于龐茂琨近作中的“場(chǎng)景”圖像,從畫面形式結(jié)構(gòu)、表現(xiàn)手法的研究出發(fā),力圖揭示出隱藏在圖像背后畫家的隱喻和觀念,探討龐茂琨油畫的“場(chǎng)景”圖像對(duì)當(dāng)代中國(guó)寫實(shí)油畫創(chuàng)作的借鑒意義。本文共分為三章:第一章是對(duì)龐茂琨油畫語(yǔ)言形成的背景分析,主要從85美術(shù)運(yùn)動(dòng)、消費(fèi)與圖像文化、現(xiàn)代和后現(xiàn)代圖式的影響幾個(gè)方面入手,并對(duì)“場(chǎng)景”圖像的概念進(jìn)行闡釋,介紹龐茂琨早期繪畫作品中的“場(chǎng)景”圖像。第二章是對(duì)龐茂琨油畫“場(chǎng)景”圖像的具體解讀,以“劇場(chǎng)”、“鏡像”、“游觀”三個(gè)系列為重點(diǎn),闡述挪用、并置、超現(xiàn)實(shí)等表現(xiàn)手法在龐茂琨繪畫中的具體運(yùn)用以及畫面背后蘊(yùn)含的隱喻和觀念。第三章是龐茂琨作品的“場(chǎng)景”圖像對(duì)當(dāng)代中國(guó)油畫創(chuàng)作的啟示。
[Abstract]:Since 90s, with the reform and opening up and the promotion of market-oriented economy, the economy and culture of contemporary China have been greatly developed, the progress of science and technology, the transformation of society, the influx of Western cultural trends. These have changed the single mode of thinking of people. After experiencing the enlightenment of "85 art trend", the concept of artistic creation has undergone a huge change, and many contemporary oil painters begin to stay away from "grand narration". Focusing on the social reality, the artist began to intervene in the contemporary society with his own unique artistic thinking, with "political Popper", "play the world realism". "later generation" as the representative of the trend of painting endlessly. In different styles of contemporary art "pinch", the traditional classical realistic oil painting is still in a marginal state to some extent. How to realize the contemporary transformation of classical realistic oil painting has become an unavoidable problem for many artists. As a unique case. Pang Maokun's oil paintings in recent years provide a useful reference for this issue. As one of the representative figures of contemporary realistic oil painting, Pang Maokun's works enjoy more important influence in the whole country, from the attached middle school to the graduate school. Ten years of systematic training in Sichuan Academy of Fine Arts has made Pang Maokun's down-to-earth skills. Whether it is the early local painting or 90s to urban women, family and friends as the subject matter of creation. Exquisite classical techniques and aesthetic ideal of beauty and tranquility have always been the greatest characteristics of his creation. However, Pang Maokun is not satisfied with the existing creation mode, but in the development and change of the times. To explore the expression of classical painting language in the contemporary, such as "encounter" in recent years. "Mirror Flower margin" and other creation marks a great change in Pang Maokun's painting style. In the continuation of the classical painting language at the same time into a more diversified artistic expression, misappropriation, juxtaposition. Surrealism, which has never been used in the past, began to appear in large numbers and achieved good results. One of the important features of contemporary art is to emphasize the involvement of art in life. Art not only lies in the internal "game" of formal language, but should be based on the realistic cultural background, participate in the process of society and think in the way of art. On this point, Pang Maokun has achieved a better balance. This paper bases on the "scene" image in Pang Maokun's recent works, starting from the study of the structure of the picture form and the method of expression. It tries to reveal the metaphors and concepts of the painters hidden behind the images. This article is divided into three chapters: the first chapter is the background analysis of the oil painting language, mainly from 85 art movement. Consumption and image culture, the influence of modern and post-modern schemata, and the concept of "scene" image are explained. This paper introduces the "scene" images in Pang Maokun's early paintings. The second chapter is about the concrete interpretation of the "scene" images of Pang Maokun oil paintings, focusing on the series of "Theater", "Mirror" and "the View of Tour". Juxtaposition, surrealism and other expression techniques in Pang Maokun's painting, as well as the metaphorical and concept behind the screen. Chapter three is the inspiration to contemporary Chinese oil painting from the "scene" image of Pang Maokun's works.
【學(xué)位授予單位】：西南大學(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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