發(fā)布時(shí)間：2018-05-21 02:11

  本文選題：中國(guó)當(dāng)代 + 寫意油畫�。� 參考：《廣西師范大學(xué)》2013年碩士論文

【摘要】：油畫作為外來(lái)藝術(shù)形式,在中國(guó)百余年的歷史過(guò)程中,中國(guó)本土化問(wèn)題一直沒(méi)有停止過(guò)探索,特別是對(duì)油畫寫意性的表現(xiàn),取得了令人矚目的成就。20世紀(jì)初,當(dāng)油畫剛從西方傳入中國(guó)時(shí),主要表現(xiàn)形態(tài)是寫實(shí)的、具象的具有現(xiàn)實(shí)主義精神的,20世紀(jì)中期學(xué)習(xí)蘇俄油畫,接受現(xiàn)實(shí)寫實(shí)主義,主要服務(wù)于政治,有著很大的局限性,寫實(shí)具象油畫一直占據(jù)著美術(shù)的統(tǒng)治地位,風(fēng)格觀念和形式陳舊與單一。改革開(kāi)放后,由于經(jīng)濟(jì)的發(fā)展和人們視野的開(kāi)拓同時(shí)中國(guó)當(dāng)代油畫所面臨的問(wèn)題越來(lái)越突出,針對(duì)中國(guó)油畫的出現(xiàn)的種種問(wèn)題,許多藝術(shù)家開(kāi)始了新的探索,中國(guó)油畫本土化,民族化,成為美術(shù)界關(guān)注的問(wèn)題。隨著中西方交流的機(jī)會(huì)逐漸增多,歐洲油畫的各種流派、藝術(shù)思潮涌入中國(guó),油畫創(chuàng)作在中國(guó)蓬勃地發(fā)展起來(lái),國(guó)外各種藝術(shù)流派和創(chuàng)作形式的作品得到了解禁,給中國(guó)油畫家提供了越來(lái)越多接觸與了解西方藝術(shù)流派的機(jī)會(huì),提出“追求藝術(shù)個(gè)性”。近幾年來(lái)中國(guó)油畫界提出了油畫本土化與民族化,促使中國(guó)油畫趨向多元化與個(gè)性化。可以更好地將其作為自己改變藝術(shù)風(fēng)格和更新創(chuàng)作思維的參照。 本文就是以“中國(guó)傳統(tǒng)繪畫”為切入點(diǎn),以歷史學(xué)、文獻(xiàn)學(xué)和社會(huì)文化學(xué)為主要研究方向,從“文人畫”、“意象"產(chǎn)生的歷史背景入手,站在當(dāng)代文化的高度,審視20世紀(jì)早期至中國(guó)改革開(kāi)放初期“寫意油畫”的發(fā)展過(guò)程、審美價(jià)值。 本文第一章對(duì)“寫意油畫”產(chǎn)生和發(fā)展的基礎(chǔ)與條件以及作品進(jìn)行分析,了解“寫意油畫”產(chǎn)生的原因和探索過(guò)程,為展開(kāi)進(jìn)一步研究奠定基礎(chǔ)。 第二章從思想特征和審美價(jià)值來(lái)分析“寫意油畫”的地域文化。從語(yǔ)言、視覺(jué)、精神幾個(gè)角度來(lái)具體探討“寫意油畫"的美學(xué)價(jià)值。 第三章、第四章是本文的核心內(nèi)容,第三章用地域文化性探索“寫意油畫”的民族、文化、時(shí)代價(jià)值及對(duì)“寫意油畫”的展望,找到當(dāng)代“寫意油畫"之間承前啟后的關(guān)系,分析地域文化價(jià)值內(nèi)涵。 通過(guò)全面認(rèn)識(shí)“寫意油畫”,理解它的地域文化價(jià)值、藝術(shù)本質(zhì)價(jià)值、美學(xué)價(jià)值等,以及它在中國(guó)美術(shù)歷程中的獨(dú)特價(jià)值。通過(guò)分析“寫意油畫”作品的創(chuàng)作思想、審美取向等從中折射出油畫的價(jià)值趨向和未來(lái)發(fā)展方向,同時(shí)對(duì)于我們油畫創(chuàng)作具有一定的參考和借鑒意義。
[Abstract]:Oil painting as a form of foreign art, in the history of China for more than 100 years, China's localization has not stopped exploring, especially to the oil painting freehand brushwork performance, has made remarkable achievements in the early 20th century, When oil paintings were introduced into China from the West, the main forms of expression were realistic. The realistic spirit of oil painting in the middle of the 20th century to study Soviet Russian oil painting, accept realism, mainly serve in politics, has great limitations. Realistic oil painting has always occupied the dominant position of art, style concept and form old and single. After the reform and opening up, because of the development of economy and the development of people's vision, the problems faced by contemporary Chinese oil painting are becoming more and more prominent. In view of the problems of Chinese oil painting, many artists have begun new exploration, Chinese oil painting localization. Nationalization has become an issue of concern to the fine arts community. With the increasing opportunities of communication between China and the West, all kinds of European oil painting schools, art trends of thought poured into China, oil painting creation flourished in China, foreign art schools and forms of works were lifted. It provides more and more opportunities for Chinese oil painters to contact and understand Western art schools, and puts forward the pursuit of artistic individuality. In recent years, Chinese oil painting circles put forward the localization and nationalization of oil paintings, which promote the diversification and individualization of Chinese oil paintings. It can be better used as a reference for changing artistic style and renewing creative thinking. This article takes "Chinese traditional painting" as the starting point, takes history, philology and social culture as the main research direction, starts with the historical background of "literati painting" and "image", and stands at the height of contemporary culture. This paper examines the development process and aesthetic value of freehand brushwork from the early 20th century to the early stage of China's reform and opening up. The first chapter analyzes the foundation and condition of the production and development of "freehand brushwork oil painting" and works, understands the causes and exploration process of "freehand brushwork oil painting", and lays a foundation for further research. The second chapter analyzes the regional culture of freehand brushwork oil painting from its ideological characteristics and aesthetic value. This paper discusses the aesthetic value of freehand brushwork from language, vision and spirit. Chapter three, Chapter four is the core content of this paper. Chapter three explores the nationality, culture, epochal value and prospect of "freehand brushwork oil painting" with regional culture, and finds out the relationship between the past and the future of the contemporary "freehand brushwork oil painting". Analyze the connotation of regional cultural value. Through a comprehensive understanding of "freehand brushwork oil painting", understand its regional cultural value, artistic essence value, aesthetic value, and its unique value in the course of Chinese art. Through the analysis of the creative thought and aesthetic orientation of "freehand brushwork", it reflects the value trend and future development direction of oil painting, and also has certain reference and reference significance for our oil painting creation.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J213

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本文編號(hào)：1917272