本文選題：寫(xiě)意性 + 風(fēng)景油畫(huà)��； 參考：《河南大學(xué)》2013年碩士論文

【摘要】：油畫(huà)自傳入中國(guó)以來(lái)，歷經(jīng)幾十年的風(fēng)格巨變，使現(xiàn)當(dāng)代的中國(guó)油畫(huà)有了嶄新的面貌。油畫(huà)是西學(xué)東漸萌生所帶來(lái)的一大財(cái)富，對(duì)于外來(lái)物的接受總會(huì)有這樣一個(gè)過(guò)程，無(wú)外乎就是全盤(pán)模仿學(xué)問(wèn)——有選擇的研習(xí)，掌握一門(mén)技能或真正了解藝術(shù)，首先就必須要達(dá)到富有創(chuàng)造性地突破，只有這樣才能立于藝術(shù)殿堂之中，才能擁有更高層次的精神追求，油畫(huà)在中國(guó)現(xiàn)當(dāng)代已發(fā)展到這一階段。 本文在研究中國(guó)當(dāng)代風(fēng)景油畫(huà)中的寫(xiě)意性時(shí)，首先按照時(shí)間上的邏輯順序把寫(xiě)意性風(fēng)景油畫(huà)在中國(guó)的發(fā)展歷程梳理清楚，從現(xiàn)代寫(xiě)意性風(fēng)景油畫(huà)的產(chǎn)生與發(fā)展和當(dāng)代寫(xiě)意性風(fēng)景油畫(huà)的發(fā)展這兩個(gè)大方面著手分析，并在每個(gè)時(shí)間段內(nèi)選取最具代表性的畫(huà)家。主要從畫(huà)家的生存背景、藝術(shù)審美趨向、藝術(shù)思想意蘊(yùn)以及代表作品這幾個(gè)方面來(lái)詳細(xì)分析。寫(xiě)意性風(fēng)景油畫(huà)在中國(guó)本土的發(fā)展并不那么明確，只能在大的發(fā)展歷程中宏觀(guān)性的進(jìn)行把控。寫(xiě)意性的研究要立足于繪畫(huà)中的具體表現(xiàn)之中，具體表現(xiàn)則又分為形式表達(dá)和思想表達(dá)兩部分。形式表達(dá)即是單從視覺(jué)畫(huà)面效果的外在形式出發(fā)，以整個(gè)畫(huà)面構(gòu)圖為框架，具體分析空間、造型和色彩的寫(xiě)意性表現(xiàn)。這部分的思想表達(dá)，總結(jié)出了寫(xiě)意性在思想表達(dá)上所具有的兩個(gè)特點(diǎn)：客觀(guān)抽象性和主觀(guān)情感性。在具體分析過(guò)這些現(xiàn)象之后，要追本溯源的去探究寫(xiě)意性與中國(guó)當(dāng)代風(fēng)景油畫(huà)相融合的具體成因。這個(gè)成因就分別從東西方兩種不同藝術(shù)文化背景中最深層的思想哲學(xué)中挖掘，在追溯傳統(tǒng)的同時(shí)也需要關(guān)注藝術(shù)文化相融合的時(shí)代性，在縱的時(shí)間線(xiàn)索與橫的空間線(xiàn)索之中，試圖尋求問(wèn)題研究的完整性探索。 幾千年的華夏民族豐厚的傳統(tǒng)文化積淀，預(yù)示著或激勵(lì)著多元民族藝術(shù)文化的強(qiáng)大相融性。風(fēng)景油畫(huà)中的寫(xiě)意性便是東西方兩種文化在新時(shí)代繪畫(huà)藝術(shù)中相融性的最佳詮釋。風(fēng)景油畫(huà)中的寫(xiě)意性是對(duì)傳統(tǒng)藝術(shù)在當(dāng)下環(huán)境中的一種延伸與發(fā)展，也是繪畫(huà)藝術(shù)的一種抽象性的表現(xiàn)，更是對(duì)西方油畫(huà)的創(chuàng)造性突破。風(fēng)景油畫(huà)的寫(xiě)意性，創(chuàng)造了一種與時(shí)俱進(jìn)的審美情感，在傳統(tǒng)藝術(shù)鋪墊的前提下，人們的藝術(shù)審美被迫在不斷地變化著，于是便生發(fā)出與時(shí)代相對(duì)應(yīng)的一種審美情愫，即對(duì)主體審美情感自由揮發(fā)的訴求，對(duì)西方泊來(lái)物審美差異性的兼容并蓄，對(duì)當(dāng)代民族藝術(shù)發(fā)展的審美創(chuàng)意突破。審美情感的變化也注定風(fēng)景油畫(huà)寫(xiě)意性的發(fā)展，在時(shí)空中尋求變化中的平衡。本文在對(duì)風(fēng)景油畫(huà)的寫(xiě)意性進(jìn)行分析時(shí)，，試圖在有限的二維空間內(nèi)表達(dá)出超越時(shí)空觀(guān)的中國(guó)藝術(shù)意境之深邃，而不是簡(jiǎn)單作為一種形式媒介的附庸。風(fēng)景油畫(huà)的寫(xiě)意性在東西方繪畫(huà)的空間概念中找到了一個(gè)支點(diǎn)，在同等媒介下，空間的韻義得到了極大地?cái)U(kuò)展，在這個(gè)部分將東方意味深遠(yuǎn)的神韻之美與西方的三維立體空間的理性構(gòu)造融為一體。風(fēng)景油畫(huà)的寫(xiě)意性為西方架上繪畫(huà)的發(fā)展形式以及形式內(nèi)涵增添了新鮮的異域風(fēng)情，它試圖調(diào)和這兩種差異巨大的文化背景的藝術(shù)氛圍。本文在分析油畫(huà)的寫(xiě)意性的發(fā)展歷程的基礎(chǔ)上，具體闡釋了優(yōu)化寫(xiě)意性的內(nèi)在以及外在的形式研究，從東方繪畫(huà)藝術(shù)的精神理論根源著手，運(yùn)用中國(guó)傳統(tǒng)繪畫(huà)的精髓來(lái)進(jìn)行詳細(xì)解析�？v觀(guān)整個(gè)油畫(huà)發(fā)展史，形式與內(nèi)涵的寫(xiě)意性具有本質(zhì)意義上的顛覆性。不僅在形式上是一種抽象化的別樣顯現(xiàn)，在其內(nèi)涵上也是一種飛躍性的極端展示。本文為寫(xiě)意性的現(xiàn)當(dāng)代油畫(huà)創(chuàng)造出了符合中國(guó)繪畫(huà)形式獨(dú)有的藝術(shù)韻味。
[Abstract]:Since the Autobiography of oil painting in China, after decades of great changes in style, it has made modern Chinese oil painting a new look. Oil painting is a great wealth brought by the emergence of Western learning. There is always such a process for the acceptance of foreign things. To understand art, we must first achieve a creative breakthrough, only in this way can we stand in the palace of art to have a higher level of spiritual pursuit. Oil painting has developed to this stage in the present and contemporary China.
In the study of the freehand nature of Chinese contemporary landscape oil painting, first of all, according to the logical sequence of time, it combs the development course of the freehand landscape painting in China, analyzes the two aspects of the emergence and development of modern freehand brushwork landscape oil painting and the development of contemporary freehand landscape oil painting, and in every time period. Select the most representative painter, mainly from the painter's living background, artistic aesthetic trend, artistic idea connotation and representative works. The development of freehand landscape painting in China is not so clear, only in the course of the macro development of macro control. In the concrete expression of painting, the concrete expression is divided into two parts: the form expression and the thought expression. The form expression is from the external form of the visual picture effect, the whole picture composition as the frame, the specific analysis of the space, the shape and the color of the freehand expression. The two characteristics are objective abstractness and subjective emotion. After analyzing these phenomena, we should explore the concrete causes of the integration of freehand brushwork and Chinese contemporary landscape oil painting. This cause is excavated from the deepest thought philosophy of the two different arts and cultures in the East and the West. At the same time, it also needs to pay attention to the epochal nature of the integration of art and culture, and try to seek the integrity of the research in the longitudinal and horizontal clues.
The rich traditional cultural accumulation of the Chinese nation for thousands of years indicates or inspires the strong fusion of the multi ethnic art and culture. The freehand nature of the landscape painting is the best interpretation of the blending between the two cultures of the East and the West in the new era of painting. Extension and development are also an abstract expression of painting art. It is a creative breakthrough in Western oil painting. The freehand nature of landscape painting creates a kind of aesthetic emotion that keeps pace with the times. Under the premise of traditional art paving, people's art and aesthetics are constantly changed, so they give birth to a kind of trial that corresponds to the times. The beauty of beauty, that is, the demand for the free volatilization of the aesthetic emotion of the subject, the aesthetic difference of the Western pooper, the breakthrough of the aesthetic creativity of the development of contemporary national art. The change of the aesthetic emotion also doomed the development of the landscape painting, and seeks the balance in the change in time and space. In the finite two-dimensional space, we try to express the profound Chinese artistic conception beyond the view of space and time in the limited two-dimensional space, instead of simply being the appendage of a form medium. The freehand nature of the landscape painting has found a fulcrum in the space concept of the East and the West. Under the same media, the rhyme of space has been greatly expanded, in this department. It integrates the beauty of the eastern meaning and the rational structure of the three-dimensional three-dimensional space in the West. The freehand nature of the landscape painting adds a fresh exotic atmosphere to the development form and the form connotation of the Western shelf painting. It tries to reconcile the artistic atmosphere of the two different cultural backgrounds. On the basis of the course of the development of freehand brushwork, the internal and external forms of the optimization of freehand brushwork are explained in detail. From the spiritual theoretical root of the Oriental painting art, the essence of traditional Chinese painting is used to make a detailed analysis. In the history of the whole oil painting, the freehand nature of the form and connotation is subversive in essence. Not only in form is a kind of abstract appearance, but also a kind of extreme display in its connotation. The present and contemporary oil painting of freehand writing has created a unique artistic charm which is in line with the form of Chinese painting.
【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(lèi)號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

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2 潘知常;禪宗的美學(xué)智慧——中國(guó)美學(xué)傳統(tǒng)與西方現(xiàn)象學(xué)美學(xué)[J];南京大學(xué)學(xué)報(bào)(哲學(xué).人文科學(xué).社會(huì)科學(xué)版);2000年03期

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