本文選題：新疆 + 主題性�。� 參考：《新疆師范大學(xué)》2013年碩士論文

【摘要】：主題性油畫創(chuàng)作從50年代開始一直到文革前后，無論從主題還是數(shù)量都達(dá)到了巔峰，這個(gè)時(shí)期的創(chuàng)作都是從歷史革命主旋律出發(fā)來服從政治變革，創(chuàng)作的選題和內(nèi)容以及表達(dá)的思想都圍繞那個(gè)特定時(shí)期和特殊環(huán)境下，從政治的角度和范圍來進(jìn)行的主流創(chuàng)作。改革開放以后，文藝政策轉(zhuǎn)變，政治不在占據(jù)全部空間，歷史革命開始弱化，繪畫本身的實(shí)質(zhì)開始受尊重，主題性繪畫創(chuàng)作的方向開始了大幅度的轉(zhuǎn)型。20世紀(jì)80年代中國向世界的全方位開放，成就了現(xiàn)代化的社會主義市場經(jīng)濟(jì)體制的轉(zhuǎn)變，思想解放和觀念更新加快了社會轉(zhuǎn)型的進(jìn)程，由于西方文化的傳入，中國油畫創(chuàng)作受多元化影響，在表現(xiàn)形式上積極創(chuàng)新，各種流派相繼出現(xiàn)，藝術(shù)創(chuàng)作的總體環(huán)境變的輕松自由，不可避免的在一段時(shí)間內(nèi)，主題性油畫創(chuàng)作出現(xiàn)了消弱的趨勢，這一時(shí)期主題性油畫內(nèi)涵缺失的現(xiàn)象，引起了國內(nèi)藝術(shù)家的擔(dān)憂和反思，呼喚主題性繪畫創(chuàng)作的復(fù)興變的越發(fā)的強(qiáng)烈。隨著2005年“國家重大歷史題材美術(shù)創(chuàng)作工程”的啟動(dòng)以及2012年4月20號“國家主題性美術(shù)創(chuàng)作研究中心”成立，主題性美術(shù)創(chuàng)作得到回歸，并出現(xiàn)了繁榮發(fā)展的大好趨勢。當(dāng)代主題性油畫創(chuàng)作開始立足現(xiàn)實(shí)，關(guān)注時(shí)代精神，以人為本注重生存環(huán)境，體現(xiàn)精神內(nèi)涵，簡單來說就是關(guān)注社會、正視歷史、直面現(xiàn)實(shí)。 新疆主題性油畫創(chuàng)作從20世紀(jì)五六十年代開始，以建國初期比較火熱的現(xiàn)實(shí)主義為主流，以主題性創(chuàng)作為根本，構(gòu)成新疆當(dāng)代油畫的基本形態(tài)，本文通過論述新疆主題性油畫創(chuàng)作的價(jià)值，以期彌補(bǔ)新疆主題性油畫創(chuàng)作理論研究方面文獻(xiàn)的不足。通過論述新疆主題性油畫創(chuàng)作的概述和發(fā)展，對主題性油畫創(chuàng)作的內(nèi)涵、特點(diǎn)以及時(shí)代特征的分析來提升人們對新疆主題性油畫的民族價(jià)值和意義的了解和認(rèn)知，從新疆主題性油畫創(chuàng)作的發(fā)展歷程及主題性畫家和他們經(jīng)典作品的梳理和介紹來闡述當(dāng)代新疆主題性油畫創(chuàng)作，在傳統(tǒng)的基礎(chǔ)上迅速發(fā)展變化的原因和過程；通過重點(diǎn)評述消費(fèi)時(shí)代背景下，新疆主題性油畫創(chuàng)作的實(shí)際推廣價(jià)值，從快消時(shí)代的今天，闡述國內(nèi)現(xiàn)實(shí)和時(shí)代精神的大背景下，怎樣才能樹立新疆主題性油畫創(chuàng)作群體的責(zé)任意識以及應(yīng)該承擔(dān)的社會責(zé)任，繼而，進(jìn)一步探索新疆主題性油畫創(chuàng)作在多元化的價(jià)值取向背景下以及藝術(shù)市場繁榮的前提下所引發(fā)的問題及解決辦法，最后從當(dāng)前的新疆主題性油畫發(fā)展現(xiàn)狀入手，通過地域文化資源的利用，來探索新疆主題性油畫創(chuàng)作發(fā)展的趨勢，并重點(diǎn)以疆內(nèi)外主題性畫展為例，闡述新疆主題性油畫創(chuàng)作的宣傳推廣價(jià)值所在。
[Abstract]:From the 1950s to the beginning of the Cultural Revolution, the thematic oil painting creation reached its peak in terms of both the theme and the number. The creation of this period was based on the theme of the historical revolution to serve the political transformation. The topics, contents and ideas expressed in the creation revolve around the mainstream creation from the political angle and scope under that particular period and special environment. After the reform and opening up, the policy of literature and art changed, politics did not occupy all the space, the historical revolution began to weaken, and the essence of painting itself began to be respected. The direction of thematic painting creation began a great transformation. In the 1980s, China opened to the whole world, and achieved the transformation of the modern socialist market economy system. Ideological emancipation and concept renewal have accelerated the process of social transformation. As a result of the introduction of Western culture, Chinese oil painting creation has been influenced by diversity, and has been actively innovated in its forms of expression. Various schools have emerged one after another. The overall environment of artistic creation has become relaxed and free, and it is inevitable that within a period of time, thematic oil painting has shown a trend of weakening. In this period, the lack of connotation of thematic oil paintings has aroused the concern and reflection of domestic artists. Calling for the revival of thematic painting creation is becoming more and more intense. With the launch of the National Major Historical subject Art creation Project in 2005 and the establishment of the National thematic Art creation Research Center on April 20, 2012, the thematic art creation has been returned, and a good trend of prosperity and development has emerged. Contemporary thematic oil painting creation began to base on reality, pay attention to the spirit of the times, people-oriented focus on the living environment, reflect the spiritual connotation, in short, is to pay attention to the society, face history, face the reality. Xinjiang's thematic oil painting creation began in the 1950s and 1960s, with the hot realism in the early days of the founding of the people's Republic of China as the mainstream and the thematic creation as the fundamental basis, constituting the basic form of Xinjiang's contemporary oil painting. This paper discusses the value of thematic oil painting creation in Xinjiang in order to make up for the lack of literature in the theoretical research of thematic oil painting creation in Xinjiang. By discussing the outline and development of the thematic oil painting creation in Xinjiang, and analyzing the connotation, characteristics and time characteristics of the thematic oil painting creation, this paper promotes people's understanding and cognition of the national value and significance of the thematic oil painting in Xinjiang. From the development course of Xinjiang thematic oil painting creation and the combing and introduction of their classical works, this paper expounds the reason and process of the rapid development and change of contemporary Xinjiang thematic oil painting creation on the basis of tradition. By focusing on the background of the consumption era, the practical promotion value of the thematic oil painting creation in Xinjiang, and the background of the domestic reality and the spirit of the times, How can we establish the sense of responsibility and social responsibility of the thematic oil painting group in Xinjiang, and then, Further explore the Xinjiang thematic oil painting under the background of diversified value orientation and art market prosperity under the premise of the problems and solutions, and finally from the current situation of Xinjiang thematic oil painting development, Through the use of regional cultural resources, to explore the development of thematic oil painting in Xinjiang, and focus on the theme of Xinjiang painting exhibition as an example, expound the promotion value of Xinjiang thematic oil painting creation.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J213

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本文編號：1818063