本文選題：藏族題材 + 文化內(nèi)涵��； 參考：《江蘇師范大學(xué)》2013年碩士論文

【摘要】：在中國(guó)近現(xiàn)代美術(shù)史上，關(guān)于藏族題材的油畫創(chuàng)作曾出現(xiàn)了三次創(chuàng)作的熱潮，不同時(shí)期的油畫家們創(chuàng)作了大量的優(yōu)秀作品，藏族題材成為了油畫藝術(shù)創(chuàng)作的重要題材之一，深入研究對(duì)藏族題材描繪的背后蘊(yùn)含的文化內(nèi)涵，深刻的體現(xiàn)了其獨(dú)特的文化。 本文首先通過(guò)藏族題材這一創(chuàng)作背景過(guò)程的梳理，列舉出每一階段的代表畫家，從畫家們的獨(dú)特繪畫風(fēng)格中闡釋其創(chuàng)作的動(dòng)機(jī)，以及對(duì)于藏族油畫創(chuàng)作最原始的信仰。不同時(shí)期表現(xiàn)出來(lái)的藏族油畫特征和文化意義是不盡相同的，本文對(duì)于藏族油畫創(chuàng)作時(shí)期的發(fā)展順序，將其分為三個(gè)時(shí)期，以不同時(shí)期的代表畫家以及他們的作品分析、歸納總結(jié)了這三個(gè)時(shí)期的發(fā)展特征。基于以上的分析、總結(jié)，本文著重探討了在這些熱潮背后所隱藏的文化內(nèi)涵。藏族地區(qū)有著自己悠久的歷史文化，而油畫的傳入或多或少打破了畫家們對(duì)于藝術(shù)創(chuàng)作的傳統(tǒng)認(rèn)識(shí)，在中國(guó)油畫創(chuàng)作史上，藏族地區(qū)的油畫創(chuàng)作最能體現(xiàn)中國(guó)油畫的創(chuàng)作特色，也最能代表油畫創(chuàng)作之于中國(guó)的民族印記和民族符號(hào)，審美獨(dú)特的地域文化、神秘的宗教文化、傳統(tǒng)的民族文化以及對(duì)人文精神的追求，最后對(duì)于藏族題材油畫的創(chuàng)作未來(lái)的發(fā)展提供出了新的探索，需要體現(xiàn)時(shí)代性和多元化的演繹。
[Abstract]:In the history of modern Chinese art, there have been three creative upsurge in oil painting of Tibetan subjects. Oil painters of different periods have created a large number of excellent works, and Tibetan themes have become one of the important subjects of oil painting art creation. Deeply study the cultural connotation behind the depiction of Tibetan theme, and deeply embody its unique culture. This article first through the Tibetan subject matter this creation background process combs, enumerates each stage representative painter, from the painter's unique painting style explains its creation motive, as well as to the Tibetan oil painting creation most primitive belief. The characteristics and cultural significance of Tibetan oil paintings are different in different periods. This paper divides the development sequence of Tibetan oil paintings into three periods, which are represented by the painters of different periods and their works. The development characteristics of these three periods are summarized. Based on the above analysis and summary, this paper focuses on the hidden cultural connotations behind these upsurge. Tibetan regions have a long history and culture of their own, and the introduction of oil paintings has more or less broken the traditional understanding of artists' artistic creation. In the history of Chinese oil painting creation, oil painting creation in Tibetan areas can best reflect the characteristics of Chinese oil painting creation. It also best represents the national imprint and national symbols of oil painting in China, the unique regional aesthetic culture, the mysterious religious culture, the traditional national culture and the pursuit of the humanistic spirit. Finally, it provides a new exploration for the future development of Tibetan oil painting.
【學(xué)位授予單位】：江蘇師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J213

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