本文選題：女性　切入點(diǎn)：意象性　出處：《贛南師范學(xué)院》2014年碩士論文

【摘要】：自近代以來，“西學(xué)東漸”的背景造就了中國繪畫的融合主義思潮，因此意象油畫的誕生自然地兼有東、西方傳統(tǒng)文化的思想內(nèi)涵。近些年來意象油畫已從概念性的提出上升到理論性研究的層面，它的研究方向基本圍繞著民族文化及其傳統(tǒng)精神內(nèi)涵的問題而展開，這也是藝術(shù)家在不斷深入思考和探索實(shí)踐的必然產(chǎn)物。目前，對于意象油畫的理論性研究又回歸到藝術(shù)的本體上，即對形式語言特征的客觀性分析和梳理。在當(dāng)前社會環(huán)境的影響下，關(guān)乎意象油畫形式語言的思維邏輯層面仍是研究意象油畫及其未來拓展空間的本質(zhì)性問題。而現(xiàn)當(dāng)代女性油畫家群體在意象油畫的形式語言創(chuàng)新上層出不窮，以想象力的豐富性和感性特征使得現(xiàn)當(dāng)代意象油畫更加多樣化。因此，本論文重點(diǎn)從女性油畫家群體視角深入探討了意象油畫的形式語言構(gòu)造，以女性油畫家的意象表現(xiàn)形式，結(jié)合當(dāng)前社會以及女性的內(nèi)在心理活動，較客觀地分析并闡述了女性與社會環(huán)境之間的密切關(guān)系，以及“人性”在意象性表現(xiàn)形式中的感性體驗(yàn)；并通過女性油畫家群體對審美形式的比較研究，追蹤當(dāng)前女性油畫家的藝術(shù)表現(xiàn)手法，發(fā)掘隱涵于意象表現(xiàn)形式中來自女性的審美意識。本論文立足于分析女性群體對現(xiàn)當(dāng)代表現(xiàn)藝術(shù)形態(tài)審視的共性及個性區(qū)別，研究現(xiàn)當(dāng)代女性自身的內(nèi)在性格特質(zhì)，從局部到整體地觀察個性化中意象性審美創(chuàng)造形式的發(fā)展及變化，以便更充分地把握當(dāng)前意象油畫的審美趨勢，，同時也對當(dāng)下時代性創(chuàng)新理念的開拓提供必要的資料分析和素材。
[Abstract]:Since modern times, the background of "Western learning to the east" has created the trend of integration of Chinese painting, so the birth of image oil painting naturally has the ideological connotation of western traditional culture.In recent years, image oil painting has been raised from the concept to the theoretical level, its research direction basically revolves around the national culture and its traditional spiritual connotation.This is also the inevitable outcome of the artist's continuous deep thinking and exploration of practice.At present, the theoretical study of image oil painting returns to the art ontology, that is, the objective analysis and combing of the characteristics of formal language.Under the influence of the current social environment, the logical level of thinking related to the formal language of image oil painting is still the essential issue of studying image painting and its future expansion space.Modern and contemporary female oil painters in the image oil painting in the form of language innovation endlessly, with the richness of imagination and perceptual characteristics of the modern and contemporary image oil painting more diversified.Therefore, this paper focuses on the formal language structure of image oil painting from the perspective of female oil painters, and combines the current society and the inner psychological activities of women with the image expression of female oil painters.This paper analyzes and expounds objectively the close relationship between women and social environment, and the perceptual experience of "human nature" in the form of imagery expression, and makes a comparative study on aesthetic forms by the group of female oil painters.To trace the artistic expression techniques of female oil painters and to explore the aesthetic consciousness of women hidden in the form of image expression.This thesis is based on the analysis of the common character and individuality difference between the female groups and the contemporary art of expression, and studies the inherent character of the modern and contemporary women.Observing the development and change of image aesthetic creation form from part to whole, in order to grasp the aesthetic trend of image oil painting more fully,At the same time, it also provides the necessary data analysis and material for the innovation idea of the present times.
【學(xué)位授予單位】：贛南師范學(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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