本文關(guān)鍵詞： 傳承 變革 表現(xiàn) 融合　出處：《沈陽(yáng)師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：本文首先談?wù)摿说聡?guó)新表現(xiàn)主義繪畫(huà)興起的歷史背景,德國(guó)遭到了納粹的統(tǒng)治和戰(zhàn)爭(zhēng)的無(wú)情洗禮,所以在新表現(xiàn)主義里,有著對(duì)于傳統(tǒng)的延續(xù)、戰(zhàn)爭(zhēng)的創(chuàng)傷、殖民文化的影響、戰(zhàn)后的反思等等諸多方面的背景與因素。其次是研究了德國(guó)新表現(xiàn)主義的代表性人物,這些藝術(shù)家所處的歷史背景反應(yīng)到繪畫(huà)的表現(xiàn)手法與題材上,對(duì)個(gè)人創(chuàng)作有了一定的啟發(fā)。最后,對(duì)于把這種多元化的表現(xiàn)手法融入到個(gè)人創(chuàng)作當(dāng)中,做出了嘗試性的探討。易曉浪,在《美術(shù)大觀》一書(shū)中提出觀點(diǎn),架上繪畫(huà)逐漸走向邊緣化,同時(shí)在美國(guó)文化一邊獨(dú)大的復(fù)雜的背景下有著如此頑強(qiáng)的生命力和獨(dú)立性也說(shuō)明了其文化根源的豐富和強(qiáng)大。長(zhǎng)期研究德國(guó)表現(xiàn)主義繪畫(huà)的劉玉民,他譯述了《20世紀(jì)德國(guó)藝術(shù)》保爾·福格特的著作。他希望德國(guó)表現(xiàn)主義能在中國(guó)生根發(fā)芽,從而影響新一代的中國(guó)表現(xiàn)繪畫(huà)。中間部分通過(guò)對(duì)具有代表性藝術(shù)家作品的研究,同時(shí)考慮到當(dāng)時(shí)所處的時(shí)代背景與周圍環(huán)境等因素,對(duì)一位大師進(jìn)行理念到作品的全面解讀。探究德國(guó)新表現(xiàn)主義繪畫(huà)在藝術(shù)中的表現(xiàn)形式,融合本土文化資源,以及在個(gè)人創(chuàng)作與實(shí)踐方面所帶來(lái)的影響,是本文的立意所在。結(jié)論,德國(guó)新表現(xiàn)主義有著德國(guó)的歷史背景與西方文化,但其表現(xiàn)手法、材料、題材都有可借鑒和學(xué)習(xí)之處。那么作為中國(guó)表現(xiàn)繪畫(huà)的創(chuàng)作,就要結(jié)合本土文化來(lái)進(jìn)行,例如融合道家的陰陽(yáng)。繪畫(huà)的生命力是否持久,并不是它的源泉在哪里,以那種形式表現(xiàn)出來(lái),而是它是否具有獨(dú)立的精神。
[Abstract]:This paper first talks about the historical background of the rise of German neo-expressionism painting, Germany was subjected to Nazi rule and the ruthless baptism of war, so in neo-expressionism, there is a continuation of tradition, the trauma of war, the influence of colonial culture. The background and factors of postwar introspection and so on. Secondly, it studies the representative figures of German neo-expressionism. The historical background of these artists reflects on the techniques and subjects of painting. It has a certain inspiration for personal creation. Finally, it makes a tentative discussion on the integration of this diversified expression technique into personal creation. Yi Xiaolang puts forward his views in "the Great View of Fine Arts". The gradual marginalization of frame painting and its strong vitality and independence on the one side of American culture also show the richness and strength of its cultural roots. Liu Yumin, who has long studied German expressionist painting, He translated the book "German Art of 20th century" by Paul Foggett. He hoped that German expressionism would take root in China and thus influence a new generation of Chinese performance painting. At the same time, taking into account the background of the times and the surrounding environment and other factors, a master of the concept to the works of a comprehensive interpretation of the German new expressionist painting in the form of art, fusion of local cultural resources, Conclusion: German neo-expressionism has the historical background of Germany and western culture, but its expression technique, material, etc. All subjects can be used for reference and learn from. So, as the creation of Chinese performance painting, we should combine the local culture, such as merging the yin and yang of Taoism. Whether the vitality of painting is lasting is not the source of it. In that form, it is whether it has an independent spirit.
【學(xué)位授予單位】：沈陽(yáng)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)】：J204

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相關(guān)期刊論文 前1條

1 王瑞蕓;新表現(xiàn)主義新在哪里?[J];美術(shù)觀察;2001年01期

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本文編號(hào)：1506011