本文選題：現(xiàn)代主義　切入點：油畫語言　出處：《山東工藝美術(shù)學(xué)院》2014年碩士論文

【摘要】：十九世紀(jì)末二十世紀(jì)初，西方繪畫發(fā)生了革命性的變革，現(xiàn)代主義繪畫以一種不同以往的新姿態(tài)出現(xiàn)在人們的視野，藝術(shù)思維從傳統(tǒng)轉(zhuǎn)入現(xiàn)代。隨著現(xiàn)代主義繪畫態(tài)度的轉(zhuǎn)變，，不可避免的是繪畫語言的轉(zhuǎn)變，傳統(tǒng)繪畫中強調(diào)透視原理、素描關(guān)系和用光影輔助打造三維空間的繪畫語言逐漸消解，一種不同以往的平面性繪畫語言被選擇。隨著西方現(xiàn)代主義春風(fēng)的席卷，西方現(xiàn)代主義繪畫的種子開始扎根中國，具有現(xiàn)代主義精神的平面性語言也隨之而來。中國現(xiàn)代主義油畫藝術(shù)深受西方現(xiàn)代主義的影響，在繪畫語言上勢必借鑒西方平面性的油畫語言形式，但中國的現(xiàn)代主義平面性語言不可避免的要經(jīng)過中國文化的洗禮，只有經(jīng)過本土化的過程，語言形式和文化精神相融合，才能成為我們自己的藝術(shù)語言。 本文從四個章節(jié)針對現(xiàn)代主義油畫語言的平面性特質(zhì)展開研究，第一章從西方的現(xiàn)代性出發(fā)，剖析它的根源，了解來龍去脈，從而清晰的掌握整個油畫語言發(fā)展的脈絡(luò)，從中窺探出油畫語言轉(zhuǎn)變的原因。第二章對東西方具有平面性特征的現(xiàn)代主義油畫語言的具體表現(xiàn)形式做深入的剖析，分別從不同的視角解讀油畫中的平面性語言。第三章延展出這種現(xiàn)代主義油畫語言的平面性特質(zhì)給當(dāng)下中國油畫帶來的啟示。第四章探討平面性油畫語言在當(dāng)代油畫創(chuàng)作中的現(xiàn)實意義及存在問題。只有全面綜合的對油畫語言的平面性進行研究，才能立足本土傳統(tǒng)，更好的拓展油畫語言的豐富性。
[Abstract]:At the end of the 19th century and the beginning of the 20th century, the western painting had a revolutionary change. Modernism painting appeared in people's field of vision with a new posture different from the past, and the artistic thinking changed from the traditional to the modern.With the change of modernist painting attitude, it is inevitable to change painting language. The traditional painting emphasizes the principle of perspective, sketch relationship and drawing language with the help of light and shadow to create three-dimensional space.A different plane painting language was chosen.With the spring breeze of western modernism sweeping, the seed of western modernism painting began to take root in China, and the plane language with modernism spirit followed.Chinese modernism oil painting art is deeply influenced by western modernism, so it is bound to draw lessons from the western flat oil painting language form in painting language, but the Chinese modernism plane language inevitably has to go through the baptism of Chinese culture.Only through the localization process, the language form and the cultural spirit fusion, can become our own artistic language.The first chapter analyzes the origin of modernism oil painting language from the point of view of the modernity of the West, and understands the origin of it, so as to clearly grasp the development of the whole oil painting language.From the oil painting language to explore the reasons for the change.The second chapter makes a deep analysis of the specific manifestations of modernist oil painting language with the characteristics of the East and the West, respectively from different angles of view to interpret the flat language in oil painting.The third chapter extends this modernism oil painting language plane characteristic brings the enlightenment to the present Chinese oil painting.Chapter four discusses the practical significance and existing problems of plane oil painting language in contemporary oil painting creation.Only by studying the planarity of oil painting language comprehensively and synthetically can we base ourselves on local tradition and expand the richness of oil painting language.
【學(xué)位授予單位】：山東工藝美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J213

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