本文關(guān)鍵詞： 當(dāng)代油畫 內(nèi)蒙古油畫 色彩語言　出處：《浙江理工大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：色彩語言作為一種用視覺傳達(dá)感情的重要因素，它給人們帶來的視覺沖擊體現(xiàn)出創(chuàng)作者內(nèi)心世界的真實(shí)想法。畫家用繪畫作品的色彩語言感染、打動(dòng)欣賞者的內(nèi)心。如何將思想和情感用色彩語言傳達(dá)出來，讓很多畫家不斷的追求和探索。很多畫家由于生活，地域文化差異的原因，對(duì)藝術(shù)的審美意識(shí)、駕馭能力，以及對(duì)色彩語言的理解和發(fā)揮也是不同的。草原和游牧生活是內(nèi)蒙古文化的最大特點(diǎn)，它與內(nèi)地的農(nóng)耕為基礎(chǔ)的文化是有差異的。獨(dú)特的地域環(huán)境和草原游牧文化造就了蒙古族獨(dú)特的民族性格、文化類型、民間習(xí)俗、以及獨(dú)特的民族審美觀。這些資源是內(nèi)蒙古當(dāng)代本土油畫色彩語言不可缺少的重要因素。內(nèi)蒙古地域文化優(yōu)勢(shì)和人文精神已經(jīng)潛移默化到內(nèi)蒙古油畫家的靈魂之中，并通過作品得以表現(xiàn)。他們都自覺的將這些優(yōu)勢(shì)運(yùn)用到自己的油畫創(chuàng)作中，具有本色、樸實(shí)、大氣的藝術(shù)個(gè)性并形成別具特色的繪畫風(fēng)格。在作品的色彩語言表達(dá)上，始終以濃郁的內(nèi)蒙古草原游牧生活和風(fēng)俗民情為主，，著重色彩表現(xiàn)力，并且講究精神審美，在有限的繪畫空間內(nèi)，讓欣賞者感受到草原的氣息。內(nèi)蒙古當(dāng)代本土油畫在創(chuàng)作過程中重視油畫色彩語言的研究，始終不斷地從具有鮮明傳統(tǒng)藝術(shù)特色的蒙古族民間美術(shù)的形式語言中來借鑒提煉養(yǎng)分,從而提高和完善豐富本土油畫的藝術(shù)語言。 內(nèi)蒙古當(dāng)代本土油畫的色彩語言獨(dú)特，情感內(nèi)涵豐富、表現(xiàn)形式多樣化。本文共分為四章：第一、內(nèi)蒙古當(dāng)代本土油畫的概述，介紹本土油畫如何在中國(guó)文化的框架下發(fā)展并興起，以及各個(gè)時(shí)期色彩語言的發(fā)展特征；第二、運(yùn)用結(jié)合內(nèi)蒙古獨(dú)特的文化底蘊(yùn)，對(duì)內(nèi)蒙古當(dāng)代本土油畫色彩語言的地域特征、抽象裝飾特征以及色彩重置特征進(jìn)行深入研究，并結(jié)合實(shí)例分析。第三、在參照當(dāng)代本土油畫色彩語言特征的情況下，結(jié)合中國(guó)傳統(tǒng)水墨畫的“寫意精神”、蒙古族喜愛色、民間美術(shù)的年畫、剪紙藝術(shù)、寺廟壁畫、巖畫、民族審美觀等方面闡釋內(nèi)蒙古當(dāng)代本土油畫色彩語言的形成原因,以及其色彩語言與我國(guó)及西方其他民族油畫色彩語言間的共同點(diǎn)與區(qū)別。第四、從多方面角度對(duì)內(nèi)蒙古當(dāng)代本土油畫色彩語言進(jìn)行拓展與思考。
[Abstract]:Color language is an important factor to convey feelings by vision. The visual impact it brings to people reflects the real idea of the creator's inner world. How to convey thoughts and feelings in color language, so that many painters can constantly pursue and explore. Many painters, because of the differences in life and regional culture, have the aesthetic consciousness and ability to control art. The understanding and development of color language are also different. Grassland and nomadic life are the greatest characteristics of Inner Mongolia culture. It is different from the farming culture in the interior. The unique regional environment and pastoral nomadic culture have created the unique national character, cultural type and folk customs of the Mongolian nationality. As well as unique national aesthetic standards. These resources are an indispensable factor in the contemporary local oil painting color language of Inner Mongolia. Inner Mongolia's regional cultural superiority and humanistic spirit have been imperceptibly transformed into the soul of Inner Mongolia oil painters. They have consciously applied these advantages to their own oil paintings, with a natural, simple and atmospheric artistic personality and a unique painting style. In the expression of the color language of the works, Always concentrated in the Inner Mongolia grassland nomadic life and customs, focusing on color expression, and pay attention to the spiritual aesthetic, in the limited painting space, Let the appreciator feel the flavor of the grassland. The contemporary native oil painting in Inner Mongolia attaches importance to the study of the language of oil painting color in the process of creation. From the form language of Mongolian folk art with distinct traditional art characteristics, we can learn from the refining nutrients, thus improving and perfecting the artistic language of enriching local oil painting. Inner Mongolia contemporary native oil painting color language is unique, the emotion connotation is rich, the expression form is diverse. This article altogether divides into four chapters: first, the Inner Mongolia contemporary native oil painting summary, This paper introduces the development and rise of local oil painting in the framework of Chinese culture, and the development characteristics of color language in various periods. Secondly, the paper uses the unique cultural background of Inner Mongolia to analyze the regional characteristics of the contemporary local color language of oil painting in Inner Mongolia. The abstract decorative features and color resetting features are studied in depth, and analyzed with examples. Thirdly, with reference to the color language features of contemporary local oil paintings and the "freehand brushwork spirit" of traditional Chinese ink painting, the Mongolian people like color. Folk art, paper-cut art, temple murals, rock paintings, national aesthetics, etc., explain the reasons for the formation of the color language of contemporary local oil paintings in Inner Mongolia. And the common ground and difference between its color language and other national oil painting language of our country and other western nationalities. 4th, from various angles, the paper develops and ponders the contemporary native oil painting color language of Inner Mongolia.
【學(xué)位授予單位】：浙江理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J213

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