本文選題：中國當代 + 超現(xiàn)實主義　； 參考：《合肥工業(yè)大學》2017年碩士論文

【摘要】：超現(xiàn)實主義盛行于二十世紀二三十年代的歐洲文學界及藝術(shù)界,其早期脫胎于達達主義。它以弗洛伊德的精神分析作為理論依據(jù),致力發(fā)現(xiàn)人類內(nèi)心的潛意識圖像。試圖把現(xiàn)實與潛意識、本能和夢境相聯(lián)系到一起。擺脫一切外在束縛,去顯示人類內(nèi)心真實客觀的面貌。本篇論文主要研究西方的超現(xiàn)實手法在繪畫中的表現(xiàn)以及中國當代藝術(shù)家繪畫作品中超現(xiàn)實主義的表現(xiàn)形式。超現(xiàn)實主義在中國的發(fā)展結(jié)合中國特殊的環(huán)境表現(xiàn)出不同于西方的特征。在了解與學習后,通過對以上的理論和技法的研究也進一步提升了自己的認識和學習能力。本文分為五個章節(jié)第一章緒論,介紹論文的研究背景、意義和狀況。論文的研究重點和創(chuàng)新點以及所要研究的內(nèi)容和方法。第二章敘說何為超現(xiàn)實主義、超現(xiàn)實主義產(chǎn)生的背景的四個方面、超現(xiàn)實主義的風格的兩種分類、三個相關(guān)流派、超現(xiàn)實主義繪畫的三個創(chuàng)作特點以及超現(xiàn)實主義畫家的六種創(chuàng)作手法。第三章歸納中國當代超現(xiàn)實繪畫為何興起的時代背景。超現(xiàn)實主義得以在中國發(fā)展的原因并簡述了中國與超現(xiàn)實繪畫語言的關(guān)系以及超現(xiàn)實主義對于中國當代的影響。將超現(xiàn)實在中國發(fā)展分為五個階段:啟蒙階段、“85新潮”時期、新生代時期、“后89新藝術(shù)潮流”時期和后生代卡通時期。最后總結(jié)中國超現(xiàn)實主義傾向藝術(shù)作品的5個特征。第四章以有代表性的中國畫家為例,來解讀他們作品中超現(xiàn)實風格的表現(xiàn)手法。第五章主要是總結(jié)自己在超現(xiàn)實繪畫中的探索實踐。通過自己的繪畫創(chuàng)作進一步研究超現(xiàn)實主義形式的語言表達。通過以上的五個章節(jié)來闡述超現(xiàn)實繪畫的發(fā)展脈絡(luò)和創(chuàng)作手法,在傳入中國后對中國當代繪畫的影響。以不同的發(fā)展階段來分析超現(xiàn)實在中國發(fā)展的情況及其在繪畫表現(xiàn)中的不斷變化�？偨Y(jié)在中國不同的文化底蘊和政治背景下,超現(xiàn)實主義繪畫出現(xiàn)的特征。結(jié)合自己的創(chuàng)作分析,超現(xiàn)實繪畫手法如何在作品中的運用。
[Abstract]:Surrealism prevailed in European literary and artistic circles in the twenties and thirties, and was born out of Dadaism in its early days. Based on Freud's psychoanalysis, it tries to discover the subconscious image of human heart. Try to associate reality with subconscious mind, instinct and dream. Free from all external restraints, to show the true and objective face of the human heart. This paper mainly studies the performance of western surrealistic techniques in painting and the surrealist forms of contemporary Chinese artists' paintings. The development of surrealism in China combined with China's special environment shows different characteristics from the West. After understanding and learning, through the above theoretical and technical research also further improve their own understanding and learning ability. This paper is divided into five chapters: the first chapter introduces the research background, significance and status. The research focus and innovation of the paper as well as the content and methods to be studied. The second chapter describes what is surrealism, four aspects of the background of surrealism, two categories of surrealism style, three related schools, Three creative features of surrealist painting and six creative techniques of surrealist painters. The third chapter summarizes the background of the rise of contemporary surreal painting in China. The reason why surrealism develops in China and the relationship between China and surreal painting language and the influence of surrealism on Chinese contemporary are briefly described. The development of surrealism in China is divided into five stages: the enlightenment stage, the 85 new trend period, the Cenozoic period, the post-89 new art trend period and the post-generation cartoon period. Finally, five characteristics of Chinese surrealist works of art are summarized. The fourth chapter takes the representative Chinese painters as an example to interpret the surreal style in their works. The fifth chapter is to summarize his exploration practice in surreal painting. Through his own painting creation further study surrealism form language expression. Through the above five chapters to explain the development of surreal painting and creative techniques, after the introduction of China to the impact of contemporary Chinese painting. This paper analyzes the development of surreality in China and its continuous changes in painting performance at different stages of development. This paper summarizes the features of surrealist painting under different cultural and political backgrounds in China. Combined with their own creative analysis, how to use surreal painting techniques in the works.
【學位授予單位】：合肥工業(yè)大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J205

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本文編號：1828315