本文選題：油畫風景 + 詩意化��； 參考：《內(nèi)蒙古師范大學》2013年碩士論文

【摘要】：遼闊無垠的內(nèi)蒙古高原是北方游牧民族的發(fā)祥地,其特殊的地域特色滋潤和養(yǎng)育著世代生活在這里的畫家們,為他們提供了一種寧靜肅穆的詩意空間和優(yōu)良的精神棲息地。內(nèi)蒙古油畫風景在幾代人的辛勤探索下,堅定地走出一條追求詩意化的藝術之路。 內(nèi)蒙古油畫風景詩意化傾向其典型特征就是在油畫風景創(chuàng)作中自覺追求優(yōu)雅的詩情詩意；當代的內(nèi)蒙古油畫風景畫家自覺的汲取傳統(tǒng)藝術精神中的詩意作為自己的創(chuàng)作目標,他們結合中國水墨山水及大寫意花鳥所體現(xiàn)的詩情畫意,融合西方油畫技法,從而創(chuàng)造出兼具東方審美文化底蘊和內(nèi)蒙古地域特色的油畫風景作品。 本文主要從當代內(nèi)蒙古油畫風景的詩意化傾向入手,首先通過對其理論成因的考察,認為當代內(nèi)蒙古油畫風景的詩意化傾向是與這片高原的地域特征息息相關；另一方面它源于蒙古民族文化對其產(chǎn)生的積極影響,重視詩性思維的精神核心。其次,畫家在與自然的“對話”中體味詩意性。它主要是指畫家在對景寫生和創(chuàng)作中自覺意識下的自我規(guī)范和約束的表現(xiàn)形式,它包括畫家自身的修為、內(nèi)省和對自然界的感悟、體驗過程等個人自持的行為準則。換言之,就是指畫家自我心靈的歷練過程,中國古代畫家所謂的“修身”之道。再次,系統(tǒng)分析內(nèi)蒙古油畫風景中詩意化傾向的表現(xiàn)及其特征。內(nèi)蒙古畫家直面自然,不知疲倦地歌頌和描繪這片熱土,并且將滿腔熱情傾注于地域題材與詩化風景中。最后在作品中探尋畫作里沒有哀怨、沒有甜膩,只有平凡、只有樸素、只有優(yōu)美與壯美般的詩意性。有鑒于此,全文由四個部分構成； 一、當代內(nèi)蒙古油畫風景詩意化的理論成因； 二、畫家在與自然的“對話”中體味詩意性； 三、內(nèi)蒙古油畫風景中詩意化傾向的表現(xiàn)及其特征； 四、結語
[Abstract]:The vast Inner Mongolia Plateau is the birthplace of the nomadic people in the north. Its special regional features nourish and nurture the painters who have lived here for generations and provide them with a quiet and solemn poetic space and excellent spiritual habitat. Inner Mongolia oil painting landscape in several generations of hard exploration, firmly out of a pursuit of poetic art road. The typical characteristic of the poetic tendency of oil painting landscape in Inner Mongolia is the conscious pursuit of elegant poetic feeling in the oil painting landscape creation; the contemporary Inner Mongolia oil painting landscape painter consciously absorbs the poetic meaning from the traditional artistic spirit as his creative goal. They combined the Chinese ink landscape and large freehand brushwork flowers and birds reflected in the poetry and painting, the integration of Western oil painting techniques, thus creating a combination of Oriental aesthetic culture and Inner Mongolia regional characteristics of oil painting landscape works. This paper mainly starts with the poetic tendency of contemporary oil painting landscape in Inner Mongolia. Firstly, through the investigation of its theoretical causes, the author thinks that the poetic tendency of contemporary oil painting landscape in Inner Mongolia is closely related to the regional characteristics of this plateau. On the other hand, it originated from the positive influence of Mongolian national culture and attached importance to the spiritual core of poetic thinking. Secondly, the painter in the dialogue with nature taste poetic. It mainly refers to the expression forms of self-regulation and restraint under the conscious consciousness of the painter in the painting and creation of the scene. It includes the self-sustaining behavior rules of the painter himself, introspection and understanding of nature, experience process and so on. In other words, it refers to the process of self-cultivation of the artist's mind, which is called "self-cultivation" by ancient Chinese painters. Thirdly, the performance and characteristics of poetic tendency in Inner Mongolia oil painting landscape are analyzed systematically. Nei Mongol painters face nature tirelessly extol and depict this hot land and pour their enthusiasm into regional themes and poetic scenery. Finally, there is no sorrow, no sweetness, only ordinary, simple, graceful and magnificent poetic in the works. In view of this, the full text consists of four parts; First, the theoretical causes of poetic painting in contemporary Inner Mongolia; Second, the painter in the "dialogue" with nature taste poetic; Third, the expression and characteristics of poetic tendency in Inner Mongolia oil painting landscape; IV. Conclusion
【學位授予單位】：內(nèi)蒙古師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J213

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本文編號：1930650