本文選題：“十七年”美術(shù)　切入點(diǎn)：現(xiàn)實(shí)主義油畫　出處：《河南大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：現(xiàn)實(shí)主義藝術(shù)的目標(biāo)是“要在對當(dāng)代生活嚴(yán)密觀察的基礎(chǔ)上,對現(xiàn)實(shí)世界進(jìn)行真實(shí)、客觀且公允不偏的再現(xiàn)”,“真實(shí)”從一開始就是處于現(xiàn)實(shí)主義核心地位的理論問題也是現(xiàn)實(shí)主義的生命力之所在�，F(xiàn)實(shí)主義對“真實(shí)”的追求使人們第一次真正將目光投向了平凡無奇的日常事物,也使經(jīng)歷了幾千年理想與憧憬之后的人類藝術(shù)在十九世紀(jì)腳踏實(shí)地地回到了自然和生活�，F(xiàn)實(shí)主義與別的文藝思潮的差異可以闡述為對“真實(shí)”的不同理解,而歪曲與誤讀“真實(shí)”將致使現(xiàn)實(shí)主義的生命力被抹殺。 對“真實(shí)”的追求造就了現(xiàn)實(shí)主義藝術(shù)在十九世紀(jì)中葉的輝煌,并深刻影響了蘇俄與中國的美術(shù)發(fā)展。由于政治等社會因素的綜合影響,新中國“十七年”時期(1949年——1966年)從蘇聯(lián)引入了社會主義現(xiàn)實(shí)主義藝術(shù)理論,并作為那個時期美術(shù)創(chuàng)作的最高準(zhǔn)則。以這種原則為指導(dǎo)的油畫創(chuàng)作雖然繼承了現(xiàn)實(shí)主義寫實(shí)的表現(xiàn)手法,但其意義和性質(zhì)發(fā)生了轉(zhuǎn)換,對“真實(shí)”的追求表現(xiàn)出了強(qiáng)烈的政治傾向性與功利性,藝術(shù)的任務(wù)在于以理想化的形象頌揚(yáng)黨的革命斗爭成果以及國家建設(shè)成就,激起群眾的熱情,鼓動他們?nèi)硇牡赝度氲叫轮袊慕ㄔO(shè)中去。實(shí)際上,這個時期通過對藝術(shù)家的改造,過分地強(qiáng)調(diào)藝術(shù)的大眾化和宣傳效應(yīng),致使審美模式固定化,迎合形勢、題材單一且內(nèi)容矯飾的油畫作品大量出現(xiàn),這恰恰是對現(xiàn)實(shí)主義“真實(shí)”追求的違背,也將最終導(dǎo)致現(xiàn)實(shí)主義生命力的喪失。 美術(shù)創(chuàng)作的最終結(jié)果是物態(tài)化的美術(shù)作品,分析一個時期的美術(shù)現(xiàn)象最好還是回到實(shí)踐中去,回到作品中去。本文的意圖在于以現(xiàn)實(shí)主義對“真實(shí)”的講求來分析“十七年”時期現(xiàn)實(shí)主義油畫的創(chuàng)作實(shí)踐,從國家施加給創(chuàng)作主體的影響、革命歷史油畫作為主要的表現(xiàn)形式、創(chuàng)作傳達(dá)的方式等三方面反思這個時期的油畫創(chuàng)作,講清楚現(xiàn)實(shí)主義所追求的“真實(shí)”在這個時期藝術(shù)實(shí)踐中的瓦解,以便使我們對比時下流行的現(xiàn)實(shí)主義稱謂,從“真實(shí)”的角度明辨何為現(xiàn)實(shí)主義藝術(shù)進(jìn)而指導(dǎo)我們的油畫創(chuàng)作。
[Abstract]:The goal of realistic art is to "be true to the real world on the basis of close observation of contemporary life." Objective and fair reappearance "," reality "from the beginning is the theoretical problem in the core position of realism is also the vitality of realism. Realism's pursuit of" truth "makes people really, for the first time. Look at the ordinary ordinary things of the day, In 19th century, after thousands of years of ideal and yearning, human art returned to nature and life. The difference between realism and other literary and artistic trends can be described as a different understanding of "reality". The distortion and misreading of "reality" will destroy the vitality of realism. The pursuit of "reality" created the brilliance of realistic art in the middle of 19th century, and deeply influenced the development of art between Russia and China. The period of "seventeen years" in New China (1949-1966) introduced the theory of socialist realism art from the Soviet Union. And as the highest standard of art creation in that period, although the painting creation guided by this principle inherited the realistic expression technique, its meaning and nature changed. The pursuit of "reality" shows a strong political inclination and utilitarianism. The task of art is to celebrate the achievements of the Party's revolutionary struggle and the achievements of national construction in an idealized image, thus arousing the enthusiasm of the masses. They were encouraged to devote themselves to the construction of New China. In fact, this period, through the transformation of artists and excessive emphasis on the popularization of art and propaganda effects, led to the immobilization of the aesthetic model to cater to the situation. A large number of oil paintings with a single theme and pretentious content appear, which is just the violation of the pursuit of realism and will eventually lead to the loss of the vitality of realism. The final result of art creation is materialized art works. It is best to return to practice to analyze the art phenomenon in a certain period of time. The intention of this paper is to analyze the practice of realistic oil painting in the period of "seventeen years" with the emphasis of realism on "reality", and to exert the influence on the creative subject from the state. The revolutionary historical oil painting, as the main form of expression and the way of creation and communication, reflects on the oil painting creation of this period in order to explain clearly the disintegration of the "truth" pursued by realism in the artistic practice of this period. In order to make us compare the current popular realistic appellation, from the point of view of "reality" to distinguish what is realism art and guide our oil painting creation.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J213

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本文編號：1604027