本文選題：當(dāng)代藝術(shù) + 架上繪畫(huà)　； 參考：《湖北美術(shù)學(xué)院》2017年碩士論文

【摘要】：平面化的繪畫(huà)雖然在二十世紀(jì)中期開(kāi)始流行,但追根溯源,早在十五世紀(jì)初的日本便產(chǎn)生了類似的繪畫(huà)方式,也就是以線與面作為主要表達(dá)方式的浮世繪。這種繪畫(huà)主要使用精煉的線條來(lái)表現(xiàn)物體的形態(tài),去掉環(huán)境色與光影的影響,直接使用單一的色塊。這樣的表現(xiàn)方式雖然缺少歐洲傳統(tǒng)的古典光影技法的厚重感,但其裝飾性很強(qiáng),又因?yàn)檫@種繪畫(huà)方式的可復(fù)制性,可滿足市場(chǎng)的廣泛需求。發(fā)展到上世紀(jì),出現(xiàn)的一大批藝術(shù)家將平面藝術(shù)與當(dāng)代藝術(shù)進(jìn)行融合并產(chǎn)生了多種多樣的藝術(shù)形式與藝術(shù)風(fēng)格。面對(duì)廣泛出現(xiàn)的關(guān)于"架上繪畫(huà)將要消失"的言論,作為一名架上繪畫(huà)創(chuàng)作者,我所思考的不是"架上繪畫(huà)"這個(gè)行為是否會(huì)不復(fù)存在。人類社會(huì)的發(fā)展一定是符合客觀規(guī)律的,一種行為的消失與否,作為這個(gè)行為的載體,我們其實(shí)并沒(méi)有能力去改變它。我研究的主題是繪畫(huà)作品的平面化能否承載架上繪畫(huà)的發(fā)展與延續(xù),究竟是當(dāng)代藝術(shù)的曇花一現(xiàn)?還是藝術(shù)史發(fā)展的必然產(chǎn)物?對(duì)于這個(gè)主題的研究能讓我看清自己接下來(lái)要走的路。經(jīng)歷了古典繪畫(huà)幾百年時(shí)間的浸染,歐洲藝術(shù)想要尋求突破其實(shí)是很困難的。戰(zhàn)爭(zhēng)的催化與政治的影響,美國(guó)大陸掀起的新潮流席卷了整個(gè)世界。廣告?zhèn)髅叫袠I(yè)的發(fā)展是催生當(dāng)代平面藝術(shù)產(chǎn)生的重要原因。無(wú)論是在視覺(jué)效果與市場(chǎng)需求上,平面藝術(shù)所帶來(lái)的影響力都是其它任何藝術(shù)形式所不具備的。喧鬧吵雜的大都市容不下需要靜心欣賞的古典繪畫(huà),稍縱即逝的廣告標(biāo)語(yǔ)也離不開(kāi)簡(jiǎn)單粗暴的線條與色塊。自然的,藝術(shù)市場(chǎng)離不開(kāi)大眾的需求,架上繪畫(huà)的表現(xiàn)形式也必須適應(yīng)市場(chǎng)的變化。
[Abstract]:Although plane painting became popular in the middle of the 20th century, it can be traced back to its origin. As early as the beginning of the fifteenth century, similar painting methods were produced in Japan, that is, lines and surfaces as the main expression. This kind of painting mainly uses the refined line to express the object shape, removes the environment color and the light shadow influence, uses the single color block directly. Although this way of expression lacks the thick feeling of the traditional European classical light and shadow technique, it is very decorative, and because of the reproducibility of this painting, it can meet the extensive demand of the market. In the last century, a large number of artists merged plane art with contemporary art and produced a variety of artistic forms and styles. In the face of widespread talk that "shelf painting is going to disappear," as an artist, what I am thinking about is not whether "shelf painting" will cease to exist. The development of human society must be in line with the objective law, a behavior disappeared or not, as the carrier of this behavior, we do not have the ability to change it. The theme of my research is whether the flatness of painting works can carry the development and continuation of painting on the shelf, which is a flash in the pan of contemporary art. Or the inevitable outcome of the development of art history? Research on this subject will allow me to see where I'm going next. After hundreds of years of classical painting, it is difficult for European art to find a breakthrough. With the catalysis of war and the influence of politics, the new trend of American mainland swept the whole world. The development of advertising media industry is an important reason for the emergence of contemporary graphic art. No matter in visual effect and market demand, the influence brought by graphic art is not possessed by any other art form. A noisy metropolis cannot accommodate classical paintings that require quiet appreciation, and fleeting advertising slogans are inseparable from simple, rough lines and color blocks. Naturally, the art market can not be separated from the needs of the public, the performance of the shelf painting must also adapt to the changes in the market.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J213
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本文編號(hào)：2004091