本文關(guān)鍵詞： 表象 真實(shí) 歷史 創(chuàng)作　出處：《魯迅美術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：本文從自身角度出發(fā),結(jié)合畢業(yè)創(chuàng)作,以論題為主線,展開(kāi)對(duì)歷史的真實(shí)性進(jìn)行論述,其次,創(chuàng)作過(guò)程中語(yǔ)言題材的尋找和探索為暗線,兩條脈絡(luò)結(jié)合來(lái)談創(chuàng)作中面臨的問(wèn)題和解決問(wèn)題的辦法。文章共有五個(gè)部分,第一章直接切入主題,在尋找題材的過(guò)程中,一次經(jīng)歷引起了我對(duì)歷史真實(shí)性的關(guān)注,大致描述了在戰(zhàn)犯管理所的所見(jiàn)所聞,并且將思考帶入到創(chuàng)作之中。第二章第一部談到我如何對(duì)記錄題材的圖片進(jìn)行轉(zhuǎn)換,以及在挑選圖片時(shí)涉及到的觀念的表達(dá);第二部分以呂克·圖伊曼斯和格哈德·里希特為例,論述他們是如何運(yùn)用圖片進(jìn)行創(chuàng)作的,且舉例兩位畫家的作品來(lái)闡述在關(guān)注歷史、戰(zhàn)爭(zhēng)等問(wèn)題上是如何表達(dá)的。第三章是我在繪畫語(yǔ)言上的探索過(guò)程,在題材問(wèn)題解決之前,是通過(guò)繪畫語(yǔ)言的探索來(lái)進(jìn)行創(chuàng)作的,所以有必要反推到語(yǔ)言探索的過(guò)程。這里“錯(cuò)版”貫穿了整個(gè)語(yǔ)言探索過(guò)程,且用其他藝術(shù)家運(yùn)用錯(cuò)版的例子來(lái)佐證我的實(shí)踐。第四章說(shuō)明如何通過(guò)語(yǔ)言來(lái)尋找題材的過(guò)程,這個(gè)過(guò)程即是錯(cuò)位的,以至于文章開(kāi)頭題材的確定成為了我創(chuàng)作最終的結(jié)果,第五章總結(jié)了整個(gè)過(guò)程,并且這個(gè)結(jié)果與整個(gè)過(guò)程是脫離的,是錯(cuò)位的;也成全了我最終對(duì)真實(shí)的表達(dá),主題得到了升華�？傊�,喜歡歷史,不僅僅是因?yàn)闅v史本身,還有我們看待它的方式。
[Abstract]:From its own point of view, combined with graduation creation, with the theme as the main line, this paper discusses the authenticity of history. Secondly, the search and exploration of language themes in the process of creation is a dark line. The article has five parts, the first chapter directly into the theme, in the process of looking for the subject matter. One experience attracted my attention to the authenticity of history and gave a general description of what I had seen and heard in the war crimes administration. The first part of the second chapter talks about how I convert the pictures of the recorded subjects and the expression of the ideas involved in the selection of the pictures. The second part, taking Luc Tuymans and Gerhardt Richter as examples, discusses how they use pictures to create, and gives examples of the two painters' works that focus on history. The third chapter is the exploration process of my painting language. Before the problem of subject matter is solved, it is through the exploration of painting language to create. Therefore, it is necessary to push back to the process of language exploration, where the "wrong version" runs through the whole process of language exploration. And with other artists to use the wrong version of the example to support my practice. Chapter 4th shows how to use language to find the subject of the process, this process is misplaced. So that the theme of the beginning of the article became the final result of my creation, the 5th chapter summarized the whole process, and this result is separate from the whole process, is misplaced; In short, the love of history is not only because of history itself, but also because of the way we look at it.
【學(xué)位授予單位】：魯迅美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J205

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相關(guān)期刊論文 前1條

1 何軍;嚴(yán)慧;;論里希特的“照片繪畫”藝術(shù)[J];作家;2010年18期

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本文編號(hào)：1478127