本文關(guān)鍵詞： 風(fēng)景 圖像 藝術(shù)態(tài)度 圖像建構(gòu) 主觀認(rèn)知 秩序安排 圖像再現(xiàn)　出處：《河北師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：本文是作者于現(xiàn)實(shí)生活中所見的一個(gè)普遍的“游客現(xiàn)象”所引發(fā)的一系列思考并開始進(jìn)行思辯和論證的過程。通過觀光者運(yùn)用攝影設(shè)備拍攝“風(fēng)景”開始,思考其是否具有美學(xué)價(jià)值或者具有怎樣的美學(xué)價(jià)值,再至“風(fēng)景”與“圖像”的關(guān)系問題并引申出風(fēng)景的最佳表現(xiàn)形式及對(duì)于繪畫而言的重要價(jià)值問題,并在解決這一問題的基礎(chǔ)上結(jié)合自身所學(xué)和本身衷于對(duì)風(fēng)景油畫藝術(shù)探索的熱情,展開了針對(duì)有關(guān)當(dāng)下“風(fēng)景油畫的圖像建構(gòu)”這一更具專業(yè)素養(yǎng)的命題的研究論證,而對(duì)該問題的研究亦是本文的核心,其旨在希望更好的說明和解決處在多元化發(fā)展的繪畫藝術(shù)領(lǐng)域中,藝術(shù)家與風(fēng)景油畫創(chuàng)作這一傳統(tǒng)繪畫藝術(shù)學(xué)科兩者間的關(guān)系問題和與之相關(guān)的藝術(shù)創(chuàng)作問題,豐富風(fēng)景畫研究創(chuàng)作的理論知識(shí),為提升風(fēng)景畫的藝術(shù)品質(zhì)提供可能。通過運(yùn)用文獻(xiàn)研究法、定性分析法以及案例分析法等主要的論文研究方法使得這一連貫的整體的論證過程更具真實(shí)可靠性,而且這也一過程是對(duì)本人學(xué)習(xí)繪畫藝術(shù)中所遇到的一些具體疑問的梳理和自我剖析性解答。正文從引言開始便詳細(xì)闡釋了“游客現(xiàn)象”的內(nèi)容,其中所涉及到風(fēng)景美學(xué)問題、繪畫藝術(shù)問題及社會(huì)現(xiàn)實(shí)問題便成為了做該研究論文的出發(fā)點(diǎn)。隨后,第一章對(duì)“風(fēng)景”、“圖像”進(jìn)行詞源學(xué)的解讀并進(jìn)行含義梳理再結(jié)合現(xiàn)代生活中的實(shí)際案例運(yùn)用藝術(shù)史學(xué)和藝術(shù)美學(xué)理論中的前人經(jīng)驗(yàn)和自身感悟來分析“風(fēng)景”與“圖像”的關(guān)系,以此來論證得出風(fēng)景就是一種美感圖像表述這一結(jié)論以便來更好的承接油畫對(duì)于風(fēng)景而言的重要價(jià)值的問題研究。第二章在文章中發(fā)揮著承上啟下的重要作用,筆者首先站在西方藝術(shù)的史實(shí)角度,總結(jié)出了某些具有代表性的案例來探尋西方藝術(shù)家們在油畫的藝術(shù)創(chuàng)作中對(duì)風(fēng)景的態(tài)度轉(zhuǎn)變原因以此找到風(fēng)景對(duì)油畫藝術(shù)的重要價(jià)值;其次,立足當(dāng)下所處的中國文化背景在中國風(fēng)景油畫發(fā)展現(xiàn)狀中找尋對(duì)于中國文化而言風(fēng)景油畫的特殊意義及研究的必要性,最后結(jié)合本章內(nèi)容肯定了就風(fēng)景而言油畫就是極具藝術(shù)價(jià)值和美學(xué)價(jià)值的一種視覺藝術(shù)載體。第三章是緊密結(jié)合上章并以首章部分研究內(nèi)容為基礎(chǔ),筆者主要導(dǎo)入借用了瑞士的皮亞杰所創(chuàng)立的建構(gòu)主義(又稱結(jié)構(gòu)主義)理論中的一個(gè)重要概念——“圖式——指個(gè)體對(duì)世界的知覺理解和思考的方式”這一理論及其后來者斯騰伯格和卡茨等人主張并強(qiáng)調(diào)的“個(gè)體的主動(dòng)性在建構(gòu)認(rèn)知結(jié)構(gòu)過程中的關(guān)鍵作用”這一重要學(xué)術(shù)觀點(diǎn),并結(jié)合筆者本人在英國的理查德·沃爾海姆的“看似”與“看進(jìn)”學(xué)說中的認(rèn)識(shí)就風(fēng)景油畫的圖像建構(gòu)劃分為三個(gè)部分:創(chuàng)作主體的主觀認(rèn)知、客體象征物的秩序安排、目的性的圖像再現(xiàn),并逐一就各部分內(nèi)容進(jìn)行了闡述并結(jié)合中國風(fēng)景畫家的實(shí)例進(jìn)行了分析,驗(yàn)證了風(fēng)景油畫優(yōu)美的詩意屬性。隨后對(duì)圖像建構(gòu)的作用和意義進(jìn)行歸納,并沿用實(shí)例分析法進(jìn)行了詳細(xì)闡述和強(qiáng)調(diào)。至第四章便是對(duì)圖像建構(gòu)在筆者自身的油畫創(chuàng)作中的運(yùn)用和啟示,結(jié)合創(chuàng)作和寫生作品分析論述,再次表明了對(duì)風(fēng)景油畫的圖像建構(gòu)進(jìn)行研究的可行性和必要性。
[Abstract]:This is a universal "tourists" phenomenon in real life the authors see a series of reflections on and start thinking and argumentation process. Through the use of photographic equipment shooting tourists "scenery", thinking whether it has the aesthetic value or aesthetic value is how the relationship to "landscape" and the "image" and how scenery the best form and important value for painting, and on the basis of the solution of this problem with my own knowledge and keen to explore itself to the landscape painting art enthusiasm, launched the "contemporary landscape painting image building" a more professional the proposition of literacy, and the research on this problem is also the core of the paper, which aims to better explain and solve the hope in the diversified development of the art of painting in the art field. Relationship between home and landscape oil painting in the traditional painting art between the two disciplines and related art creation, theoretical knowledge research of landscape painting, landscape painting can enhance artistic quality. By using the methods of literature research, qualitative analysis is the main research method and case analysis method such as this is a coherent whole process of argumentation more authenticity, and it is a process of learning I encountered in the art of painting some specific questions and answers. Self analysis combing the text from the introduction will begin with the interpretation of the "tourist phenomenon", which relates to the aesthetics of landscape painting. Art problems and social problems will become the starting point of the research. Then, the first chapter of "scenery", "image" interpretation of etymology and meaning Carding combined with modern life in the case of using the experience of art history and art aesthetics in the theory of predecessors and Its Inspiration to analyze the relationship between "landscape" and "image", in order to demonstrate that the scenery is a kind of aesthetic image representation this conclusion to research on the problem of bearing important value in relation to the landscape painting with the better to the second chapter plays the important role in the article, the author first station in the western art historical perspective, summed up some representative cases to explore the western artists in the painting in the artistic creation of landscape in order to find the reason for the change of the attitude of the art of painting landscape important value; secondly, based on the moment the China cultural background in the current development of landscape painting in Chinese find necessary to Chinese culture special significance and research of landscape painting. Finally, this chapter certainly is a kind of visual art landscape painting is the carrier of great artistic value and aesthetic value. The third chapter is closely combined with the last chapter and the first chapter of content based constructivism, the author mainly borrowed into Switzerland founded by Piaget (also known as structuralism theory) an important concept in "schema refers to the perception of the world and understand the way of thinking" this theory and later Sternberg and Katz advocated and emphasized the individual initiative in the construction of cognitive structure in the process of the key role of the important academic point of view, combined with the author in the UK Richard Wall's "look" and "see" in the theory of knowledge on landscape painting image construction is divided into three parts: the subjective cognition of the creation of the main object, like Arrange the sign the order and purpose of image reproduction, and is one of the contents of each part are described and examples Chinese landscape painters were analyzed, verified the beautiful landscape painting poetic property. Then the function and significance of image construction were summarized, and use case analysis method in detail and emphasis. To the fourth chapter is on the image construction of the use and Enlightenment in the creation of oil painting in the author's own, combined with creative and works analysis, once again that the image of landscape painting construction necessity and feasibility study.

【學(xué)位授予單位】：河北師范大學(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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