本文關(guān)鍵詞： 陶冷月 化古為新 中西融合 新中國畫 教學改革　出處：《天津大學》2016年博士論文　論文類型：學位論文

【摘要】：二十世紀前半葉是中國美術(shù)史上一個重要的歷史時期。隨著西方繪畫的不斷涌入,中國畫在不斷的蛻變和革新中艱難前行。由文人畫為主體的一元繪畫逐漸向新舊消長、中西雜糅的多元化方向發(fā)展,在相對開放的文化環(huán)境中獲得了更為自由的生長空間,充分顯示了畫家創(chuàng)作思維的靈活性及繪畫風格的選擇性。這一時期對中國傳統(tǒng)繪畫進行改良、革新的拓荒者除黃賓虹、徐悲鴻、林風眠等大師以外,其他大部分均由于諸因素的影響而被長期湮滅,陶冷月便是其中之一。他作為中西繪畫融合初期“創(chuàng)新型畫家原型”的代表,以上世紀五十年代為界,先后經(jīng)歷了兩種截然不同的藝術(shù)人生。本文以陶冷月繪畫立足的文化視點和表現(xiàn)形式為中心,以個案研究的形式對其進行重新解讀,以便透過這一典型例證更好的了解這一時期的藝術(shù)現(xiàn)象。筆者通過前期調(diào)研,在掌握大量一手資料的基礎上,對陶冷月的人生軌跡及藝術(shù)發(fā)展階段進行具體的分期細化,以進一步明確各個時期、各個階段不同的人生經(jīng)歷和藝術(shù)歷程。結(jié)合特定的社會背景和文化環(huán)境,對其繪畫理念的形成進行分析,進而在充分理解和把握的基礎上對其主張做出全面闡釋。將陶冷月藝術(shù)表現(xiàn)的范圍、題材進行拓展,竭力從時間、空間等多個方面對其藝術(shù)類型、造型語言、藝術(shù)活動等展開全方位的論述。尤其針對他所涉足的“新中國畫”領(lǐng)域,筆者將積極轉(zhuǎn)變思路,利用與國內(nèi)及日本相關(guān)畫家繪畫思想、技法風格等因素的對比,積極探尋他們之間的碰撞與交匯,從而形成新的觀點和論證體系。對于目前研究中尚未觸及或觸及較少的寫生手稿和攝影藝術(shù),筆者將從其各自的藝術(shù)特點出發(fā),通過寫生、攝影、創(chuàng)作三者間關(guān)系的建構(gòu)來予以把握。此外,結(jié)合陶冷月受教育的特殊背景及蔡元培美育思想等因素的影響,對其教育理念及教學實踐進行剖析,以便為當代美術(shù)教育提供必要的借鑒和啟示。通過整體把握和全面分析,以理性的視角對陶冷月做出公正客觀的評價。對其有生命力的積極因素予以充分肯定,對其過時的、僵死的因素進行重新審視和反思,以便為后人借鑒和創(chuàng)新提供正確的方向和著力點,并不斷為評估自身未來的價值提供新的參照和坐標。本文通過對陶冷月個案的深入研究,對他所處的藝術(shù)生態(tài)環(huán)境進行如實的再現(xiàn)和還原,對其個體發(fā)展軌跡及群體發(fā)展脈絡進行重新梳理。透過外在的表現(xiàn)和特征對其內(nèi)在的、深層的因素進行觸摸,以便更好的予以理解和消化,從而為民國美術(shù)史的完善提供必要的補充。不斷在傳統(tǒng)中探索,在借鑒中發(fā)現(xiàn),在理性思維的指導下從新的高度、新的視域?qū)ζ溥M行多維度、開創(chuàng)性的研究。與此同時,也能為當代廣大學者的繪畫學習提供一定的參考價值和借鑒價值。
[Abstract]:The first half of 20th century was an important historical period in the history of Chinese art. With the continuous influx of Western painting, Chinese painting was moving forward in constant transformation and innovation. The monistic painting with literati painting as the main body gradually increased and waned to the old and the new. The mixture of China and the West in the direction of diversification, in a relatively open cultural environment, has gained a more free space for growth, It fully shows the flexibility of the painter's creative thinking and the selectivity of the painting style. In this period, the Chinese traditional painting was improved. The innovating pioneers, except Huang Binhong, Xu Beihong, Lin Fengmian and other masters, Tao Lengyue was one of the other people who were annihilated for a long time because of the influence of various factors. As a representative of the "innovative painters' prototype" in the early stage of the integration of Chinese and Western paintings, the last century, 50s, was the boundary. This paper focuses on the cultural point of view and the form of expression of Tao Lengyue's painting, and reinterprets it in the form of case study. In order to better understand the artistic phenomenon of this period through this typical example, the author, through previous research, on the basis of mastering a great deal of first-hand data, makes a specific stage refinement of Tao Lengyue's life track and the stage of art development. In order to further clarify the different life experience and artistic course of each period, each stage, combined with the specific social background and cultural environment, the formation of its painting idea is analyzed. Then on the basis of full understanding and grasp of its ideas to make a comprehensive interpretation. The scope of artistic expression of Tao Lengyue, subject matter to expand, from time, space and other aspects of its art types, modeling language, Especially in the field of "New Chinese painting", the author will actively change his thinking and make use of the comparison of painting ideas, techniques and styles with domestic and Japanese painters. Actively explore the collision and intersection between them, so as to form a new viewpoint and argumentation system. For the few manuscripts and photography that have not been touched or touched in the present research, the author will proceed from their respective artistic characteristics through sketching. In addition, combining with the special background of Tao Lengyue's education and the influence of Cai Yuanpei's aesthetic education thought, the author analyzes his educational idea and teaching practice. In order to provide the necessary reference and inspiration for contemporary art education. Through the overall grasp and comprehensive analysis, to make a fair and objective evaluation of Tao Lengyue from a rational perspective. In order to provide the correct direction and focus for future generations to learn from and innovate, and to provide new reference and coordinate for evaluating their future value, this paper makes a thorough study of Tao Lengyue's case. The artistic ecological environment in which he lived was truthfully reproduced and restored, and its individual development track and group development vein were rearranged. Through the external performance and characteristics, the inner and deep factors were touched. In order to better understand and digest, so as to provide the necessary supplement for the perfection of the history of fine arts of the Republic of China. We constantly explore in the tradition, find in the reference, under the guidance of the rational thinking, carry on the multi-dimension to it from the new height and the new horizon under the guidance of the rational thinking. At the same time, it can provide some reference value and reference value for contemporary scholars.
【學位授予單位】：天津大學
【學位級別】：博士
【學位授予年份】：2016
【分類號】：J212
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本文編號：1539203