本文選題：“70后”水墨 + 傳統(tǒng)�。� 參考：《河北師范大學(xué)》2015年碩士論文

【摘要】：在中國(guó)畫(huà)的進(jìn)程中,水墨藝術(shù)的發(fā)展早已開(kāi)始,“70后”水墨藝術(shù)家們開(kāi)始登上了中國(guó)畫(huà)發(fā)展的歷史舞臺(tái)。我們逐漸的看清楚了一個(gè)群體:一個(gè)既富有充沛精力和創(chuàng)造力又保持著沉著低調(diào)的一群藝術(shù)家們。他們經(jīng)歷了中國(guó)文化,政治,經(jīng)濟(jì)等全方位大幅度提高的年代,同時(shí),也伴隨著人們精神和信仰的缺失,道德感失衡和嚴(yán)酷的社會(huì)競(jìng)爭(zhēng),所以“70后”的水墨藝術(shù)家表達(dá)方式和老一輩藝術(shù)家有著非常明顯的不同之處。他們大都從自身生活體驗(yàn)、情感、欣賞水平、趣味出發(fā),綜合多方面社會(huì)文化和心理因素,傳達(dá)了現(xiàn)代人對(duì)傳統(tǒng)語(yǔ)匯的全新體驗(yàn)和感受,他們的藝術(shù)創(chuàng)作已成為當(dāng)下水墨繪畫(huà)的重要組成力量之一,從這些方面來(lái)看,“70后”水墨藝術(shù)家的創(chuàng)作具有明顯的圖像學(xué)和社會(huì)學(xué)的研究?jī)r(jià)值。從藝術(shù)創(chuàng)作的價(jià)值來(lái)看,他們立足傳統(tǒng),在實(shí)踐中延展傳統(tǒng)的筆墨語(yǔ)言,在承接傳統(tǒng)和前輩水墨藝術(shù)家的同時(shí),更是積極的以自我體式推進(jìn)著當(dāng)代水墨藝術(shù)的創(chuàng)新和成長(zhǎng),他們的作品帶有強(qiáng)烈的社會(huì)學(xué)意識(shí)形態(tài)和濃烈的個(gè)人式語(yǔ)言特征,并且不同的語(yǔ)言表達(dá)方式和思想,為中國(guó)水墨藝術(shù)的創(chuàng)作和發(fā)展帶來(lái)了與眾不同全新的活力,這是“70后”水墨藝術(shù)能夠成為本文研究對(duì)象的最主要原因之一。本文以“70后”水墨藝術(shù)家為中心,以這些藝術(shù)家的成長(zhǎng)生活為背景切入,對(duì)“70后”水墨藝術(shù)家在繪畫(huà)中的創(chuàng)新性、發(fā)展性進(jìn)行探究,探尋在當(dāng)代時(shí)代大變遷這種背景下藝術(shù)家關(guān)注自我剖析與表達(dá)的精神模式特點(diǎn),對(duì)一些代表畫(huà)家與作品的簡(jiǎn)要分析入手,闡述“70后”水墨藝術(shù)家對(duì)當(dāng)代中國(guó)畫(huà)發(fā)展的重大意義。
[Abstract]:In the process of Chinese painting, the development of ink art has already begun, "after 70" ink artists began to step on the historical stage of the development of Chinese painting. We have come to see a group of artists who are both energetic and creative and keep a calm low-key. They have experienced a period of great improvement in Chinese culture, politics, economy, and so on. At the same time, with the lack of people's spirit and belief, the imbalance of moral sense and the harsh social competition, Therefore, "after 70" ink artist expression and the older generation of artists have very obvious differences. Most of them set out from their own life experience, emotion, level of appreciation and interest, synthesizing various social, cultural and psychological factors to convey modern people's new experience and feelings of traditional vocabulary. Their artistic creation has become one of the most important components of contemporary ink painting. From these aspects, the creation of "post-70s" ink and wash artists has obvious research value of graphology and sociology. From the point of view of the value of artistic creation, they base themselves on tradition, extend the traditional ink language in practice, and actively promote the innovation and growth of contemporary ink and wash art with self-style, while accepting the tradition and the previous generation of ink and wash artists. Their works have strong sociological ideology and strong personal language characteristics, and different ways of language expression and ideas, for the creation and development of Chinese ink and ink art has brought a distinctive new vitality. This is one of the main reasons why ink art after 70 s can be studied in this paper. This paper focuses on the "post-70s" ink and water artists, taking the growth and life of these artists as the background, and probes into the innovative and developmental nature of the "post-70s" ink and wash artists in their paintings. Under the background of the great change of the contemporary times, this paper explores the characteristics of the spiritual mode of artists' concern for self-analysis and expression, and begins with a brief analysis of some representative painters and works. This paper expounds the great significance of ink and wash artists after 70 to the development of contemporary Chinese painting.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：J212

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本文編號(hào)：1848090