本文選題：周思聰 + 藝術(shù)實(shí)踐　； 參考：《河南大學(xué)》2013年碩士論文

【摘要】：本文主要通過探討藝術(shù)家周思聰先生藝術(shù)創(chuàng)作的時(shí)代背景和梳理她本人的藝術(shù)實(shí)踐，對(duì)周思聰繪畫實(shí)踐的藝術(shù)語言和創(chuàng)作母題的流變做了系統(tǒng)分析。通過研究得出，周思聰是成長在現(xiàn)實(shí)主義環(huán)境下的藝術(shù)家，改革開放后她勇于創(chuàng)新、銳意進(jìn)取，最終突破了現(xiàn)實(shí)主義藝術(shù)經(jīng)驗(yàn)的束縛，從中國傳統(tǒng)藝術(shù)母題中找到了自己的藝術(shù)母題和藝術(shù)語言。 作為生在舊社會(huì)長在紅旗下的一代人，周思聰自小受到的就是社會(huì)主義現(xiàn)實(shí)主義的藝術(shù)教育，這一點(diǎn)很不同于他的老師蔣兆和那一代藝術(shù)家，那一代藝術(shù)家是開創(chuàng)中國繪畫新面貌的一代人，他們不僅有開闊的國際視野同時(shí)也有深厚的中國古典文化積淀。而周思聰這一代人接受的就是以徐悲鴻為首的藝術(shù)家建立的社會(huì)主義現(xiàn)實(shí)主義藝術(shù)體系，從解放區(qū)時(shí)期至今，這種現(xiàn)實(shí)主義藝術(shù)系統(tǒng)一直在中國藝術(shù)教育中扮演著極其重要的角色，這種影響在周思聰一代的藝術(shù)家身上顯得特別明顯。所以周思聰在1979年以前的作品都顯現(xiàn)出現(xiàn)實(shí)主義國畫的語言特征。后來改革開放政策為藝術(shù)界帶來了自由創(chuàng)作的聲音，周思聰開始嘗試不同的藝術(shù)語言來延續(xù)以往的藝術(shù)母題，這一時(shí)期的代表作品是《礦工圖》，她表現(xiàn)出脫離現(xiàn)實(shí)主義語言的迫切心理。之后周思聰把創(chuàng)作的母體轉(zhuǎn)移到少數(shù)民族彝族女子身上，，這在主題上進(jìn)一步脫離了社會(huì)主義現(xiàn)實(shí)主義的影響，這個(gè)時(shí)期她意識(shí)到創(chuàng)作自由的重要性，同時(shí)也感受到了自由創(chuàng)作、獨(dú)立創(chuàng)作對(duì)一個(gè)藝術(shù)家的重要性，這種對(duì)藝術(shù)堅(jiān)持不懈的追求使周思聰借助中國藝術(shù)的精神找到了自我靈魂棲息的場所，進(jìn)而創(chuàng)作了“荷塘系列”，這一系列創(chuàng)作表現(xiàn)了周思聰?shù)　⑻竦娜松鷳B(tài)度。 周思聰?shù)乃囆g(shù)經(jīng)歷在中國近現(xiàn)代美術(shù)史上是很有研究價(jià)值的個(gè)案，她的藝術(shù)探索和中國藝術(shù)界的整個(gè)經(jīng)歷相輔相成，她晚期的藝術(shù)探索甚至對(duì)中國藝術(shù)的演化起到了探險(xiǎn)問路的作用。時(shí)下中國經(jīng)濟(jì)的發(fā)展為文化藝術(shù)的奮起提供了經(jīng)濟(jì)基礎(chǔ)，有望通過研究周思聰?shù)乃囆g(shù)人生，總結(jié)中國的藝術(shù)經(jīng)驗(yàn)為建立中國藝術(shù)的當(dāng)代身份提供可以借鑒的地方。
[Abstract]:This paper mainly discusses the background of artistic creation of artist Zhou Sicong and combs her own art practice, and makes a systematic analysis of the artistic language and the evolution of creation motif of the painting practice of Zhou Sicong. Through research, Zhou Sicong is an artist who grew up in a realistic environment. After the reform and opening up, she was bold in innovation and enterprising, and finally broke through the shackles of realistic artistic experience. From the Chinese traditional art motif to find their own art motif and artistic language. As a generation born under the red flag in the old society, Zhou Sicong received art education of socialist realism since his childhood, which is very different from the artist generation of his teacher Jiang Zhaohe. That generation of artists was the one who created a new look in Chinese painting. They not only had a broad international perspective, but also had a deep accumulation of Chinese classical culture. What Zhou Sicong's generation accepts is the art system of socialist realism established by artists headed by Xu Beihong. From the period of the liberated areas to the present, This realistic art system has always played an extremely important role in Chinese art education, and this kind of influence is particularly obvious to Zhou Sicong's generation of artists. So Zhou Sicong's works before 1979 showed the linguistic features of realistic Chinese painting. Later, the reform and opening up policy brought free creative voices to the art community. Zhou Sicong began to try different artistic languages to continue the old art motif. The representative work of this period is Miner's Picture, she shows the urgent psychology that deviates from the realism language. Zhou Sicong later transferred the creation of the mother body to the minority Yi women, which further separated from the influence of socialist realism on the theme. During this period, she realized the importance of the freedom of creation and also felt the freedom to create. The importance of independent creation to an artist, this persevering pursuit of art, led Zhou Sicong to find a place where his soul perched with the spirit of Chinese art, and thus created the "Lotus Pond Series." This series of creation shows Zhou Sicong's weak and tranquil attitude towards life. Zhou Sicong's artistic experience is a case of great research value in Chinese modern art history. Her artistic exploration and the whole experience of Chinese art circles complement each other. Her later artistic exploration even played an exploratory role in the evolution of Chinese art. The development of Chinese economy nowadays provides the economic foundation for the rise of culture and art. It is hoped that by studying Zhou Sicong's artistic life and summing up China's artistic experience, it can be used for reference to establish the contemporary identity of Chinese art.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J203

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 秋霖;論現(xiàn)代中國人物畫創(chuàng)作的多元發(fā)展格局[J];寧夏大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2003年06期

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