本文選題：生活體驗(yàn) + 近現(xiàn)代�。� 參考：《沈陽(yáng)大學(xué)》2014年碩士論文

【摘要】：藝術(shù)家進(jìn)行創(chuàng)作的動(dòng)機(jī)，無(wú)疑是要將生活的感悟與感動(dòng)用自己特殊的方式展示出來(lái)，繪畫創(chuàng)作自然成為獨(dú)屬于畫家的一種對(duì)于描繪生活的方式。近現(xiàn)代——社會(huì)動(dòng)蕩不安的年代，人飽受著列強(qiáng)的壓迫與戰(zhàn)爭(zhēng)的痛苦，吃飽穿暖已非常困難，何談進(jìn)行藝術(shù)創(chuàng)作。但在那一時(shí)期的許多大師們對(duì)于藝術(shù)的熱愛(ài)令人肅然起敬，，他們不僅沒(méi)有因?yàn)樯钆c社會(huì)環(huán)境的困難而放棄繪畫創(chuàng)作，而是用自己的一生與“一切困難”進(jìn)行斗爭(zhēng)。他們“迎難而上”，沖破傳統(tǒng)的枷鎖，擺脫封建教育的束縛，吸收西方科學(xué)的繪畫創(chuàng)作方法，進(jìn)行學(xué)習(xí)與創(chuàng)新，這種為了藝術(shù)而奉獻(xiàn)的精神足以讓人“仰望”。 本文主要通過(guò)對(duì)近現(xiàn)代以及當(dāng)代大師的作品、藝術(shù)主張與創(chuàng)作思想進(jìn)行剖析，分為三部分說(shuō)明生活體驗(yàn)無(wú)論是在近現(xiàn)代還是當(dāng)代，對(duì)于繪畫創(chuàng)作都具有不可替代的作用。第一部分首先簡(jiǎn)單的闡述“生活體驗(yàn)”的涵義，并把生活體驗(yàn)分為兩點(diǎn)：一是自發(fā)體驗(yàn)，二是自覺(jué)體驗(yàn)。其次對(duì)如何正確的“創(chuàng)作”生活分兩點(diǎn)進(jìn)行表述，一是要求藝術(shù)家在進(jìn)行創(chuàng)作時(shí)，用藝術(shù)的眼光觀察生活，親近自然，提高自身的修養(yǎng)。二是用正確的心態(tài)“活著”創(chuàng)作。第二部分主要介紹近現(xiàn)代中國(guó)人物畫的發(fā)展，以及具體分析生活體驗(yàn)在近現(xiàn)代藝術(shù)創(chuàng)作中的精神內(nèi)涵與現(xiàn)實(shí)意義。首先對(duì)近現(xiàn)代中國(guó)人物畫的發(fā)展由封閉走向開(kāi)放進(jìn)行簡(jiǎn)單的了解，并說(shuō)明歷史與時(shí)代在進(jìn)步，藝術(shù)創(chuàng)作只有與時(shí)俱進(jìn)才會(huì)被歷史“選擇”。其次以徐悲鴻、蔣兆和的藝術(shù)主張，創(chuàng)作價(jià)值觀，作品為主要闡述與論述的對(duì)象進(jìn)行剖析，進(jìn)一步證明藝術(shù)創(chuàng)作離不開(kāi)生活體驗(yàn)。最后闡述當(dāng)代生活體驗(yàn)與中國(guó)人物畫創(chuàng)作的關(guān)系，首先說(shuō)明生活體驗(yàn)是有地域性、時(shí)代性、民族性。其次以黃胄的一句話“一個(gè)畫家，人有多高，畫有多高”為例證說(shuō)明在生活面前，要虛心學(xué)習(xí)，以積極、樂(lè)觀的心態(tài)生活與進(jìn)行藝術(shù)創(chuàng)作。通過(guò)當(dāng)代藝術(shù)大師的繪畫作品體會(huì)他們的生活狀態(tài)與藝術(shù)精神。 叢古至今有層出不窮的藝術(shù)大師與事例證明，“生活體驗(yàn)“在藝術(shù)創(chuàng)作中的具有決定性的作用，這就提醒與啟發(fā)當(dāng)代的繪畫創(chuàng)作者不要當(dāng)“井底之蛙”，“坐井觀天”的自以為是，世界之大，生活的酸甜苦辣猶如畫家筆下的顏色一樣多彩繽紛。走入生活，收集素材，進(jìn)行創(chuàng)作才能是作品具有其真正的社會(huì)價(jià)值。
[Abstract]:The motive of the artist's creation is undoubtedly to show the feeling and emotion of life in his own special way, and painting creation naturally becomes a kind of way of depicting life that belongs to the painter alone. In modern times, when society was in turmoil, people suffered from the oppression of the great powers and the suffering of war. It was very difficult to eat, clothe and warm. However, many of the masters in that period had an admirable love of art. Not only did they not give up painting because of the difficulties in life and social environment, but they fought "all difficulties" with their own lives. They "face the difficulties", break through the shackles of the tradition, get rid of the shackles of feudal education, absorb the western scientific methods of painting creation and study and innovate. This spirit of dedication for art is enough to make people "look up". This article mainly through the modern and contemporary master's works, the art proposition and the creation thought carries on the analysis, divides into three parts to explain the life experience whether in the modern or the contemporary, has the irreplaceable function to the painting creation. The first part simply explains the meaning of "life experience", and divides the life experience into two points: one is spontaneous experience, the other is conscious experience. Secondly, how to correctly "create" life is described in two aspects: one is to require artists to observe life with artistic eyes, to get close to nature, and to improve their self-cultivation. The second is to use the correct state of mind to "live" creation. The second part mainly introduces the development of modern Chinese figure painting, and analyzes the spiritual connotation and practical significance of life experience in modern art creation. First of all, the development of modern Chinese figure painting from closed to open to a simple understanding, and show that history and the times in progress, art creation only with the times will be history "choice". Secondly, the author analyzes the art propositions, creative values and works of Xu Beihong and Jiang Zhaohe, and further proves that artistic creation can not be separated from life experience. Finally, the relationship between the contemporary life experience and the creation of Chinese figure painting is expounded. Firstly, it shows that the life experience is regional, epochal and national. Secondly, Huang Zhou's sentence, "how tall a painter is, how high a painting is" is an example to illustrate that in front of life, we should learn with an open mind, live and create art with a positive and optimistic attitude. Through the paintings of contemporary masters of art to understand their living conditions and artistic spirit. There are numerous masters of art and examples that prove that "life experience" plays a decisive role in artistic creation, which reminds and inspires contemporary painting creators not to be "frog from the bottom of the well". The world is big, and life is as colorful as the colors of painters. Only by entering life, collecting materials and creating works can works have their real social value.
【學(xué)位授予單位】：沈陽(yáng)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

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