本文選題：中國(guó)油畫(huà) + 寫(xiě)實(shí)油畫(huà)　； 參考：《浙江師范大學(xué)》2013年碩士論文

【摘要】：在中國(guó)傳統(tǒng)文化中,始終都貫穿著“詩(shī)”這一精神方式,并隨著傳統(tǒng)文化在漢代的定型而成為中國(guó)文化的精神本體。當(dāng)今,在“文化觀(guān)念多元化”的影響下,人們的審美觀(guān)念、審美方式在不斷地改變,也為油畫(huà)創(chuàng)作領(lǐng)域帶來(lái)“百花齊放、推陳出新”的興旺格局。寫(xiě)實(shí)油畫(huà)已從過(guò)去單一強(qiáng)調(diào)思想內(nèi)容的主題創(chuàng)作形式中解放出來(lái),演變成為具有當(dāng)代“中國(guó)式”新寫(xiě)實(shí)主義油畫(huà)。這種演變,是以新的表現(xiàn)形式對(duì)寫(xiě)實(shí)傳統(tǒng)的傳承,是以新的視覺(jué)元素在具象油畫(huà)上的應(yīng)用和革新,是以新的思想觀(guān)念對(duì)民族性和時(shí)代精神的探索。 中國(guó)傳統(tǒng)繪畫(huà)追求寫(xiě)意,崇尚意境,這主要是基于中國(guó)幾千年的文化歷史,而油畫(huà)在中國(guó)的發(fā)展已有上百年的歷史了。隨著中國(guó)社會(huì)經(jīng)濟(jì)的發(fā)展,中國(guó)的寫(xiě)實(shí)油畫(huà)逐漸的融入了中國(guó)的傳統(tǒng)文化,在西方審美經(jīng)驗(yàn)的基礎(chǔ)上,通過(guò)運(yùn)用中國(guó)傳統(tǒng)繪畫(huà)中的寫(xiě)意手法、審美觀(guān)念,來(lái)達(dá)到中國(guó)寫(xiě)實(shí)油畫(huà)在中國(guó)的革新。本文將通過(guò)對(duì)中國(guó)寫(xiě)實(shí)油畫(huà)的概念、興起、發(fā)展?fàn)顩r及審美觀(guān)的變化,通過(guò)對(duì)寫(xiě)實(shí)油畫(huà)家的審美思想及作品進(jìn)行分析,來(lái)闡述中國(guó)當(dāng)代寫(xiě)實(shí)油畫(huà)中所體現(xiàn)的詩(shī)意情懷。 本論文分為三章：在引言部分主要論述寫(xiě)實(shí)油畫(huà)的概念、在中國(guó)的興起以及它的發(fā)展現(xiàn)狀。第一章主要通過(guò)從中國(guó)寫(xiě)實(shí)油畫(huà)思想觀(guān)念的轉(zhuǎn)變及油畫(huà)語(yǔ)言的革新方面來(lái)加以論述中國(guó)寫(xiě)實(shí)油畫(huà)中詩(shī)意的缺失。第二章是本文的重點(diǎn),主要論述現(xiàn)當(dāng)代中國(guó)油畫(huà)家對(duì)傳統(tǒng)文化的回歸,詩(shī)意因素再現(xiàn)寫(xiě)實(shí)油畫(huà)中,通過(guò)對(duì)中國(guó)寫(xiě)實(shí)油畫(huà)家的藝術(shù)思想及其作品來(lái)論述其中所體現(xiàn)的詩(shī)意情懷。第三章是主要論述把詩(shī)意因素融入到中國(guó)寫(xiě)實(shí)油畫(huà)當(dāng)中所帶來(lái)的意義。最后是結(jié)語(yǔ),總結(jié)了詩(shī)意在中國(guó)寫(xiě)實(shí)油畫(huà)發(fā)展中是一種趨勢(shì),也是一種途徑。它是中國(guó)傳統(tǒng)文化中的一個(gè)特征,是“本土化”、“國(guó)際化”的一條可行之道,并且在中國(guó)這片文化的沃土上具有深遠(yuǎn)的發(fā)展空間。
[Abstract]:In Chinese traditional culture, the spirit of "poem" is always running through, and along with the traditional culture in the Han Dynasty, it becomes the spiritual ontology of Chinese culture. Nowadays, under the influence of "cultural diversity", people's aesthetic concept and aesthetic way are constantly changing, which also brings the prosperous pattern of "blooming a hundred flowers and bringing forth the new from the old" for the field of oil painting creation. Realistic oil painting has been liberated from the single theme creation form which emphasizes the ideological content in the past, and has evolved into a new realistic oil painting with contemporary "Chinese style". This evolution is the inheritance of realistic tradition in new forms of expression, the application and innovation of new visual elements in concrete oil paintings, and the exploration of nationality and the spirit of the times with new ideas and ideas. Chinese traditional painting pursues freehand brushwork and advocates artistic conception, which is mainly based on the cultural history of China for thousands of years, and the development of oil painting in China has a history of more than 100 years. With the development of Chinese society and economy, Chinese realistic oil painting gradually melts into Chinese traditional culture. On the basis of western aesthetic experience, aesthetic concept is obtained by using freehand brushwork in Chinese traditional painting. To achieve the Chinese realistic oil painting innovation in China. In this paper, the concept, rise, development and aesthetic changes of realistic oil painting in China are introduced. Through the analysis of aesthetic thoughts and works of realistic oil painters, the poetic feelings embodied in Chinese realistic oil paintings are expounded. This paper is divided into three chapters: the introduction mainly discusses the concept of realistic oil painting, the rise in China and its development. The first chapter mainly discusses the lack of poetic meaning in Chinese realistic oil painting through the transformation of Chinese realistic oil painting ideology and the innovation of oil painting language. The second chapter is the focus of this paper, mainly discusses the return of modern and contemporary Chinese oil painters to the traditional culture, poetic factors in the reproduction of realistic oil painting, through the art of Chinese realistic oil painters and their works to discuss the poetic feelings embodied therein. The third chapter mainly discusses the significance of integrating poetic factors into Chinese realistic oil paintings. Finally, the conclusion summarizes that poetry is a trend and a way in the development of realistic oil painting in China. It is a characteristic of Chinese traditional culture, a feasible way of "localization" and "internationalization", and has far-reaching development space in the fertile soil of Chinese culture.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J213

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本文編號(hào)：2019547