本文關(guān)鍵詞： 桂北地域 風(fēng)景油畫 創(chuàng)作　出處：《廣西師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：風(fēng)景油畫在西方已發(fā)展了近300多年的歷史,形成了較為嚴(yán)謹(jǐn)?shù)目臻g、透視、色彩等方面的繪畫體系。自百年前油畫引入中國以來,中國的油畫也經(jīng)歷幾個發(fā)展階段。風(fēng)景油畫也得到了長足發(fā)展。在這里風(fēng)景包括自然景觀和人文景觀。好風(fēng)景,令人悅目賞心。好風(fēng)景意蘊(yùn)有二：一是,好風(fēng)景取悅你的眼睛,為你帶來視覺愉悅和舒服的快感；二是,好風(fēng)景融情于景,以情入境,使人在精神上有所感悟,有所共鳴。好風(fēng)景既當(dāng)如此,好的風(fēng)景油畫同樣如此。風(fēng)景不僅為油畫創(chuàng)作提供了素材,在它的感染下有些畫家還形成了自己的繪畫語言,如白羽平的黃色土地、張冬鋒的亞熱帶田園景色、王克舉意境表現(xiàn)語言等等。隨著中國油畫的發(fā)展,風(fēng)景油畫越來越受到畫家的重視。它不僅具有豐富的繪畫題材與風(fēng)格還可以表現(xiàn)地域性美術(shù)特征,對中國油畫的發(fā)展更是起到了很大影響。本文主旨正是研究桂北地域的自然因素和文化因素對風(fēng)景油畫創(chuàng)作的影響。首先介紹桂北區(qū)域是指桂林、河池、柳州等廣西北部這一地區(qū)。它不僅有豐富的自然環(huán)境而且有流傳悠久的歷史文化。其次,介紹桂北地域自然環(huán)境中的美術(shù)資源,春天的煙雨漓江,甲天下的梁山秀水、亞熱帶氣候產(chǎn)生的田園景色、卡斯特地貌與紅土地池塘的搭配等一處處小景卻被這里的畫家描繪出田園詩般的美麗圖案來。桂北自古就成為眾多名人志士所喜愛的景色,秦朝的靈渠連通了湘江與漓江,隨著它的流淌流傳出不少文人墨客的精彩詩句和繪畫。給這片熱土隨著煙霧繚繞的漓江鋪上了濃厚的文人氣息。此外這里是少數(shù)民族聚居的地域,少數(shù)民族特色文化更是為繪畫提供了更多的“民族”味道。吊腳樓、古民居、彩虹橋、鮮明的服裝樣式等等都為油畫創(chuàng)作提供了鮮活的素材。第三點(diǎn)呈現(xiàn)的是桂北地域文化所形成的風(fēng)景油畫藝術(shù)特征,亞熱帶風(fēng)土景物和南方田園詩畫風(fēng)的藝術(shù)特征、追求民族性東方神韻的民族特征、寫生性和生活化的特點(diǎn)。第三大部分是桂北地域文化的研究對風(fēng)景油畫創(chuàng)作的影響,從自然和人文兩大主要因素分析桂北對風(fēng)景油畫創(chuàng)作的地域優(yōu)勢,對于繪畫風(fēng)格和繪畫語言的形成,繪畫作品地域性特征強(qiáng)和民族化等特點(diǎn)進(jìn)行了詳細(xì)闡述。最后是桂北地域研究對風(fēng)景油畫創(chuàng)作的影響以及該地域油畫作品對中國油畫民族化做出重要貢獻(xiàn)。并且對青年繪畫者風(fēng)景油畫創(chuàng)作所產(chǎn)生潛移默化影響的研究。 總之,從上個世紀(jì)九十年代起,中國油畫藝術(shù)創(chuàng)作在不斷的發(fā)展,油畫風(fēng)景藝術(shù)也有了日新月異的變化和前進(jìn)。近年來,藝術(shù)家們突破了風(fēng)景創(chuàng)作的”小品之作”局限,探究在當(dāng)代文化背景下提升風(fēng)景繪畫作品的思想性和精神性。在藝術(shù)語言方面,藝術(shù)家們更多地從中國民族文化和中華民間藝術(shù)文化里吸收其中精髓。藝術(shù)家面對自然的不同觀看角度和藝術(shù)形式的體現(xiàn),使中國當(dāng)代風(fēng)景油畫藝術(shù)呈現(xiàn)出獨(dú)特面貌,給人新穎的感受。通過桂北地域風(fēng)景油畫創(chuàng)作的研究,認(rèn)識到桂北這片土地的藝術(shù)魅力,桂北地區(qū)對中國油畫本土化、民族化貢獻(xiàn)自己的力量!
[Abstract]:Landscape painting has developed nearly 300 years of history in the west, forming a more rigorous perspective, space, color and other aspects of the painting system. Since the introduction of oil painting China 100 years ago, China paintings have experienced several stages of development. The landscape painting has been considerable development. The scenery including the natural landscape and the humanities landscape. Good scenery, a good scenery. Cheerful and pleasing to the eye has two: one is the meaning, the scenery pleasing to your eyes, bring visual enjoyment and comfortable pleasure for you; two, good financial situation in the scene, to love the entry, make people mentally aware, resonated. Only when such good scenery, landscape painting the same scenery. Not only provided material for the creation of oil painting, in its infection some painters have formed their own painting language, such as Bai Yuping Zhang Dongfeng's yellow land, tropical pastoral scenery, Wang Keju mood scale The language and so on. With the development of China painting, landscape painting has attracted more and more attention. It is not only a painter painting rich themes and styles can also show the regional characteristics of the development of art, China painting is played a great influence. The purpose of this paper is the influence of natural factors and cultural factors of the northern area of Guangxi the landscape painting creation. The first area of Northern Guangxi refers to Guilin, Hechi, Liuzhou and other northern Guangxi in this area. It is not only rich in natural environment and has long history and culture. Secondly, the North Guangxi regional natural environment art resources, spring misty rain Lijiang in Liangshan Xiushui. The subtropical climate landscape and pastoral scenery, Custer clay pond was a small collocation everywhere here painter painted a beautiful pattern of idyllic. Since ancient times, as in North Guangxi Many celebrities who loved the scenery, the Qin Dynasty Lingqu connectivity of Xiangjiang and Lijiang River, with its flowing stream spread a lot of wonderful verse men of literature and writing and painting. For this piece of land with smoky Lijiang covered literati atmosphere. In addition there is regional ethnic settlements, ethnic culture is more provide a more "national" taste for painting. On stilts, ancient dwellings, rainbow bridge, distinctive clothing style and so on are the fresh material for oil paintings. Third shows the landscape painting art characteristics formed in North Guangxi regional culture, artistic features and the south subtropical climate landscape idyllic, national the characteristics of nationality of oriental charm, nature and life characteristics of writing. The third part is the research of North Guangxi regional culture influence on the landscape painting creation, from the natural and cultural two Main factors analysis of North Guangxi to the landscape painting creation of geographical advantages, for painting style and form of painting language, features paintings of regional characteristics and nationalization and so on. Finally the North Guangxi Regional Research on landscape painting creation and painting on the field to make an important contribution to national painting Chinese study. And the young painter painting creation produced by the subtle influence.
In a word, from the last century since 90s, China oil painting art in the development of landscape painting art has also been change rapidly change and progress. In recent years, artists broke through the creation of "landscape sketch" limitations, provided ideological and spiritual exploration of landscape painting works of the rise in the background of Contemporary culture in the language of art, artists are more absorbing the essence from Chinese culture and the folk art culture. Artists with different viewing angles and art forms of nature, the China contemporary landscape oil painting art showing a unique appearance, give novel feelings. Through the study of North Guangxi regional landscape painting creation to know, this piece of land in North Guangxi art charm in North Guangxi to China oil painting nationalization localization, to contribute their strength!

【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 孫海燕;;淺談中西方繪畫差異[J];大眾文藝;2010年24期

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本文編號：1455234