本文選題：當(dāng)代 + 新具象��； 參考：《浙江師范大學(xué)》2013年碩士論文

【摘要】：人類誕生之初,就需要用各種方式來(lái)傳遞信息,進(jìn)行交流。正是人類在彼此的相互交往中,繪畫(huà)以自己獨(dú)特的形式語(yǔ)言反映出先民的精神訴求。史前西班牙阿爾塔米拉洞窟中充滿蓬勃生命力的野牛巖畫(huà),就是我們祖先用繪畫(huà)來(lái)傳遞對(duì)勞動(dòng)、自然及觀念意識(shí)的載體,寄予了原始人的精神信念。無(wú)論是在原始社會(huì)還是在信息飛速發(fā)展的今天,作為視覺(jué)藝術(shù)的繪畫(huà)都顯示出它生動(dòng)、直觀、交流無(wú)障礙的優(yōu)越性。盡管繪畫(huà)要借助一定的載體并使用一定的工具才能實(shí)現(xiàn),但最終的精神表現(xiàn)與形式追求才是繪畫(huà)作為藝術(shù)存在的最終目的。對(duì)畫(huà)家來(lái)說(shuō),通過(guò)畫(huà)面來(lái)傳遞作者獨(dú)特的藝術(shù)見(jiàn)解與對(duì)形式語(yǔ)言不懈的探究,始終是藝術(shù)家思索的重要命題。 早期的西方繪畫(huà)在傳統(tǒng)哲學(xué)的影響下,強(qiáng)調(diào)繪畫(huà)要模仿和反映客觀世界,真實(shí)的再現(xiàn)自然。隨著社會(huì)文化的不斷發(fā)展,各個(gè)地域出現(xiàn)了不同的繪畫(huà)風(fēng)貌,到了19世紀(jì)末,西方現(xiàn)代美學(xué)與繪畫(huà)對(duì)傳統(tǒng)觀念提出了挑戰(zhàn),他們認(rèn)為繪畫(huà)是一種情感的表現(xiàn)、一種藝術(shù)創(chuàng)造,而不再是單純的再現(xiàn)與模仿。但是現(xiàn)代主義完全拋棄了繪畫(huà)的“形”,單純追求樣式化,直至上一世紀(jì)末西方后現(xiàn)代的繪畫(huà)觀念才使繪畫(huà)又重新回歸具象,回到架上。而我國(guó)的新具象繪畫(huà)也是在西方后現(xiàn)代語(yǔ)境的影響下,揉合了本土文化傳統(tǒng)的一種藝術(shù)探索,藝術(shù)家更加關(guān)注人的精神世界,關(guān)注社會(huì)、民生。從某種意義上講新具象繪畫(huà)是對(duì)傳統(tǒng)具象繪畫(huà)的一種繼承與發(fā)展,改革開(kāi)放以來(lái),中國(guó)的油畫(huà)藝術(shù)面貌發(fā)生了深刻的改變,藝術(shù)家從不同的方面探索油畫(huà)的藝術(shù)表現(xiàn)力。具象繪畫(huà)在多元格局中重新煥發(fā)出光彩,從描繪崇高、神圣的場(chǎng)景和塑造英雄人物走向描寫(xiě)平凡生活與普通大眾,從理想化走向直面現(xiàn)實(shí)與人生。社會(huì)飛速發(fā)展中出現(xiàn)的新問(wèn)題、急劇變革中弱勢(shì)群體與人民大眾的生存現(xiàn)狀,引起了藝術(shù)家的思考。一些有責(zé)任感與使命感的藝術(shù)家用畫(huà)筆創(chuàng)作了一些具有現(xiàn)實(shí)主義精神的作品。本文希望通過(guò)對(duì)新具象繪畫(huà)的分析,闡釋在當(dāng)下現(xiàn)實(shí)生活中蘊(yùn)含的精神取向及西方現(xiàn)代后現(xiàn)代的藝術(shù)思潮對(duì)中國(guó)具象繪畫(huà)的影響,通過(guò)具體的畫(huà)家作品分析當(dāng)代中國(guó)新具象繪畫(huà)中體現(xiàn)出來(lái)的藝術(shù)精神。
[Abstract]:When human beings were born, they needed to communicate with each other in a variety of ways.It is in the mutual contact of human beings that painting reflects the spiritual demands of the ancestors in their own unique formal language.The bison rock painting, which is full of vigorous vitality in Arta Mira grotto in Spain, is the carrier of labor, nature and concept consciousness that our ancestors used to convey the spiritual belief of primitive people.Whether in the primitive society or in the rapid development of information today, as a visual art painting has shown its vivid, intuitive, communication and accessibility advantages.Although painting can only be realized by certain carriers and tools, but the ultimate spiritual expression and the pursuit of form is the ultimate purpose of painting as an art existence.For painters, it is always an important proposition for artists to pass on their unique artistic views and unremitting inquiry into formal language.Under the influence of traditional philosophy, early western painting emphasized that painting should imitate and reflect the objective world and reproduce nature.With the continuous development of social culture, different painting styles appeared in various regions. By the end of the 19th century, modern western aesthetics and painting challenged traditional concepts. They thought painting was an expression of emotion and an artistic creation.It is no longer a mere reproduction and imitation.However, modernism completely abandoned the "form" of painting and simply pursued stylization. It was not until the end of the last century that the concept of post-modern painting in the West made painting return to concrete again and return to the frame.The new figurative painting of our country is also under the influence of the western post-modern context, a kind of artistic exploration that combines the native culture tradition, the artist pays more attention to the human spirit world, the society, the people's livelihood.In a sense, new figurative painting is an inheritance and development of traditional figurative painting. Since the reform and opening up, Chinese oil painting has undergone profound changes, and artists have explored the artistic expression of oil painting from different aspects.Figurative painting rekindled its luster in the pluralistic pattern, from depicting lofty and sacred scenes and portraying heroic characters to describing ordinary life and ordinary people, from idealization to facing reality and life.The new problems in the rapid development of the society and the existence of the vulnerable groups and the masses in the rapid transformation have aroused the artists' thinking.Some artists with sense of responsibility and mission have created some realistic works with brushes.Through the analysis of the new figurative painting, this paper tries to explain the spiritual orientation contained in the present real life and the influence of the western modern and postmodern artistic trend on the Chinese figurative painting.The artistic spirit embodied in contemporary Chinese new figurative painting is analyzed through concrete painters' works.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 薛曄;畫(huà)家的社會(huì)責(zé)任——記油畫(huà)家徐唯辛[J];藝術(shù)·生活;2005年02期

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本文編號(hào)：1770431