本文選題：秦大虎　切入點：本土畫家　出處：《浙江理工大學》2014年碩士論文　論文類型：學位論文

【摘要】：雖然中國引進油畫藝術(shù)至今只有百年多的歷史。但油畫在中國文化環(huán)境中已深受特有文化背景和社會狀況的影響，向著本土化藝術(shù)的方向前行并開拓了更大的成長和發(fā)展空間。在中國油畫發(fā)展中，有一批新中國剛成立時由國家培養(yǎng)的藝術(shù)家，他們帶著深切的愛國熱情，本著為“社會主義社會”服務的責任，編織出一段新中國的藝術(shù)繪畫史。如建國初期到其后成為中國油畫專業(yè)教育巨擎的羅工柳、董希文、全山石等，以及五六十年代國內(nèi)美術(shù)院系培養(yǎng)出一批又一批油畫專業(yè)人才，他們經(jīng)歷過社會主義藝術(shù)教育，深入工農(nóng)兵、接受改造世界觀的洗禮，對新中國的油畫藝術(shù)發(fā)展有著很強的使命感，這一些畫家經(jīng)過繪畫基礎(chǔ)的嚴格訓練，部分人轉(zhuǎn)而在中國美術(shù)建設(shè)和發(fā)展中擔當重要職責，而另一些畫家則延續(xù)油畫創(chuàng)作。在中國經(jīng)濟飛速發(fā)展的21世紀，他們或已步入暮年，但仍然堅持著油畫創(chuàng)作，堅持著自己的藝術(shù)觀。 秦大虎就是這樣一位本土畫家，他本著對油畫藝術(shù)的熱忱，長期堅持油畫創(chuàng)作，以自己生活的家鄉(xiāng)的本土文化為源泉，堅持以通俗的藝術(shù)語言表達形式；以大眾審美情趣為藝術(shù)表現(xiàn)的目標，用樸實真誠的繪畫形式表達中國“民族性”文化藝術(shù)；尋找真實的中國油畫發(fā)展的道路。本文所討論的是新中國成立后所培養(yǎng)的畫家中的一員“秦大虎的繪畫藝術(shù)”，意在由個案出發(fā)，尋求本土油畫家的成長及新中國油畫藝術(shù)發(fā)展的軌跡，西方油畫在新中國建立后與中國文化藝術(shù)交融下成長的本土畫家所表現(xiàn)的油畫藝術(shù)的價值以及在中國油畫發(fā)展的方向，為中國油畫的本土化發(fā)展形式提供一些借鑒的經(jīng)驗。 本文以秦大虎“繪畫藝術(shù)風格”為研究對象，通過對畫家本人的采訪，作品整理及收集，圍繞三個方面對秦大虎的繪畫歷程及藝術(shù)風格進行研究，初步探討本土畫家對油畫中民族繪畫性的實踐及發(fā)展。第一，以秦大虎的所處的50、60年代的社會文化背景入手，理清解放初期油畫發(fā)展的路徑，探討畫家的藝術(shù)發(fā)展歷程；第二，以秦大虎不同的三個繪畫發(fā)展時期的繪畫風格和藝術(shù)語言的研究，從多角度分析畫家的油畫中“民族性”的形成；第三，，通過秦大虎的繪畫藝術(shù)思想來探討中國本土畫家對“民族性”油畫的實踐探索。
[Abstract]:Although the art of oil painting has only been introduced into China for more than one hundred years, oil painting has been deeply influenced by the unique cultural background and social conditions in the Chinese cultural environment. In the development of Chinese oil painting, there were a number of artists trained by the state when the new China was founded, with deep patriotic enthusiasm. In line with the responsibility of serving the "socialist society", weave out a section of the history of art and painting in New China, such as Luo Gongliu, Dong Xiwen, and the whole mountain stone, who became major Chinese oil painting education giants in the early years of the founding of the people's Republic of China, And in the 1950s and 1960s, domestic art institutes and departments trained a number of oil painting professionals. They experienced socialist art education, went deep into workers, peasants and soldiers, and accepted the baptism of transforming the world outlook. There is a strong sense of mission in the development of oil painting in New China. Some of these painters, after rigorous training in the basis of painting, have taken on important responsibilities in the construction and development of Chinese fine arts. In 21th century, with the rapid development of China's economy, they may have entered an old age, but they still adhere to oil painting and their own view of art. Qin Dahu is such a native painter, he in the spirit of oil painting art enthusiasm, long-term oil painting creation, with their own native culture of the home as the source, adhere to the form of popular art language expression; Take the popular aesthetic sentiment as the artistic expression goal, expresses the Chinese "nationality" culture and art with the simple and sincere painting form; This paper discusses the painting art of Qin Dahu, one of the painters trained after the founding of New China, with the intention of starting from a case study. Seeking the growth of local oil painters and the track of the development of oil painting art in New China, the value of oil painting art expressed by local painters who have grown up with the blending of Chinese culture and art after the establishment of new China and the direction of oil painting development in China. It provides some experience for the development of Chinese oil painting. This article takes Qin Dahu's painting art style as the research object, through the interview to the painter himself, the work arrangement and the collection, carries on the research to the Qin Dahu's painting process and the artistic style around three aspects, First, starting with Qin Dahu's social and cultural background of the 1950s and 1960s, to clarify the path of oil painting development in the early liberation period, and to explore the art development course of the painter. Based on the study of the painting style and artistic language of Qin Dahu in three different periods of painting development, the formation of "nationality" in the painter's oil painting is analyzed from various angles. Third, Through Qin Dahu's artistic thought of painting, this paper probes into the practical exploration of "nationality" oil painting by Chinese native painters.
【學位授予單位】：浙江理工大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J213

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