本文選題：寫實 + 油畫��； 參考：《廣西師范大學(xué)》2013年碩士論文

【摘要】：油畫作為具有世界性的繪畫種類之一起源于西方,已有數(shù)百年的發(fā)展歷程和深厚的傳統(tǒng),其中每個時代都有登峰造極的大師凸顯,在藝術(shù)史上留下不朽的傳世名作。他們各領(lǐng)風(fēng)騷,雖此起彼伏終究異彩紛呈耀眼奪目。一部泱泱的西方美術(shù)史整個就是寫實油畫(繪畫)的發(fā)展史。 寫實油畫作為繪畫的一種表現(xiàn)手法,在藝術(shù)形態(tài)方面屬于具象藝術(shù)的范疇。本文從具象寫實油畫的語言入手,深入探討自人類寫實意識的萌芽到寫實性繪畫的誕生、及寫實油畫作為繪畫的一種形式語言在西方和中國演化、流變的漫長過程,其中伴隨攝影照相術(shù)的生發(fā),對寫實油畫帶來“鳩占鵲巢”的惶恐不安,刺痛寫實畫家身心,同時又衍生新的觀念促使寫實油畫語言革命性的流變,拓展了寫實油畫語言新的疆域,打破了古典寫實一統(tǒng)天下的局勢,使具象寫實油畫與抽象、表現(xiàn)等繪畫語言多元共進(jìn),迎來前所未有的嶄新天地。與此同時,“寫實油畫作為架上繪畫已經(jīng)失去意義沒有了價值”“寫實繪畫已經(jīng)死亡”之類云云話語如影隨行紛沓而至,寫實油畫似乎如履薄冰四面楚歌。然而事實證明寫實油畫作為架上繪畫并未“失去意義沒有了價值”更沒有像某些人預(yù)言的那樣早早的衰亡,而是仍然在繪畫領(lǐng)域中不斷的流變,依然扮演著重要的角色,發(fā)揮著它的作用。 具象寫實油畫語言作為多類繪畫語言的一種,它是人類思想情感與手工勞作的文化產(chǎn)物、是人類進(jìn)化能力的體現(xiàn),是人的心、眼、手同畫布的接觸碰撞所產(chǎn)生的心靈痕跡,表達(dá)人內(nèi)心的某種情感和精神,是人的心靈同生活、自然碰撞的結(jié)果。而手的靈巧是人類進(jìn)化的重要成果,寫實繪畫的創(chuàng)作是由手的高度完善帶來的技藝性與自我意識的結(jié)合所產(chǎn)生的。而其中的技藝性是需要人們經(jīng)過長期訓(xùn)練和實踐得來的,這一過程并不能因為科技的高度進(jìn)步發(fā)達(dá)而被忽略。即便電腦技術(shù)更加發(fā)達(dá),機器可以幫助人做更多的事情,但最終也無法取代人類的思維和人類的手工技能,因為人的靈魂是任何無生命的東西都代替不了的。因此,作為有人的精神情感和手工技藝參與的寫實油畫藝術(shù)應(yīng)該是與人類同生同滅的。只要有人的存在,手工技藝的寫實油畫作為人類精神情感的產(chǎn)物,便會隨時隨勢的發(fā)展和流變,而不會早早的衰亡
[Abstract]:As one of the world painting types, oil painting originated in the West, has hundreds of years of development and deep tradition, in which each era has the highlight of the masters, leaving immortal masterpieces in the history of art. Each of them, in spite of one after another, was dazzling in splendor and splendor. A great western art history is the history of realistic oil painting. Realistic oil painting, as a technique of painting, belongs to the category of figurative art in the aspect of artistic form. Starting with the language of realistic oil painting, this paper deeply discusses the long process from the germination of realistic consciousness to the birth of realistic painting, and the evolution of realistic oil painting as a formal language of painting in the West and China. Accompanied by the growth of photography, realistic oil painting brought "dove occupy the nest" panic, stinging realistic painter body and mind, but also derived new ideas to promote the revolutionary evolution of realistic oil painting language. It expands the new territory of realistic oil painting language, breaks the situation of classical realism and dominates the world, and makes realistic oil painting, abstract, performance and other painting languages advance together, and ushered in an unprecedented new world. At the same time, "realistic oil painting as a shelf painting has lost significance," realistic painting is dead, "and so on words such as shadow to accompany, realistic oil painting seems to be embattled on every side. However, the facts have proved that realistic oil painting, as a frame painting, has not "lost its meaning and lost its value," nor has it fallen to an early death as some people have predicted, but it is still constantly evolving in the field of painting and still playing an important role. Play its role. As a kind of many kinds of painting language, realistic oil painting language is the cultural product of human thought, emotion and manual work, the embodiment of human evolutionary ability, and the mental trace produced by the contact between human heart, eye, hand and canvas. To express a certain emotion and spirit in one's heart is the result of the collision of human mind with life and nature. The dexterity of the hand is an important achievement of human evolution. The creation of realistic painting is caused by the combination of skill and self-consciousness brought by the perfection of the hand. And the skills need to be trained and practiced for a long time, and this process can not be ignored because of the highly advanced science and technology. Even if the computer technology is more advanced, the machine can help the human to do more things, but also cannot replace the human thought and the human craft skill in the end, because the human soul can not replace anything inanimate. Therefore, the realistic oil painting art, as a person's spiritual emotion and handicraft skill, should be born and died with human beings. As long as there are people, artisanal realistic oil painting, as a product of human spiritual feelings, will always follow the development and evolution of the situation, and will not decline and die early.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J213

【共引文獻(xiàn)】

相關(guān)期刊論文 前10條

1 鄭慶峰;;平凡中見偉大,偉大中見平凡[J];安徽文學(xué)(下半月);2008年03期

2 趙彬;楊帆;;現(xiàn)代中國油畫人物創(chuàng)作對“形變”的探究[J];長春理工大學(xué)學(xué)報;2010年09期

3 白福亮;;當(dāng)代草原畫派油畫創(chuàng)作中的文化特征[J];傳奇.傳記文學(xué)選刊(理論研究);2011年03期

4 周韜;;精神與品格——寫實主義油畫折射出的人文主義精神[J];時代教育(教育教學(xué)版);2008年04期

5 岳亮;;論中國畫元素在油畫中的運用[J];大家;2010年16期

6 宋世成;;論油畫材料語言研究的重要性[J];大家;2010年19期

7 李旋;;論我國油畫材料研究的現(xiàn)狀[J];當(dāng)代藝術(shù);2010年02期

8 李建安;;源于觀察——阿利卡繪畫觀初探[J];當(dāng)代藝術(shù);2010年03期

9 倪進(jìn);;西風(fēng)吹拂下的晚清民國藝術(shù)[J];東南文化;2008年05期

10 葛玉霞;;深厚的寫實 多向的發(fā)展——記女畫家孫多慈[J];大舞臺(雙月號);2009年01期

相關(guān)會議論文 前1條

1 曹q;;中國當(dāng)代油畫中的“性圖像”研究[A];首屆中國高校美術(shù)與設(shè)計論壇論文集（上）[C];2010年

相關(guān)博士學(xué)位論文 前10條

1 趙箋;主流文化對20世紀(jì)以來中國油畫影響研究[D];南京藝術(shù)學(xué)院;2011年

2 喻琴;國立杭州藝專校長林風(fēng)眠素養(yǎng)研究[D];華中師范大學(xué);2011年

3 張鑫;中西古典繪畫美學(xué)比較研究[D];山東大學(xué);2011年

4 李昌菊;油畫民族化再探索[D];中國藝術(shù)研究院;2008年

5 金捷;中國表現(xiàn)性油畫創(chuàng)作教學(xué)研究[D];南京藝術(shù)學(xué)院;2008年

6 徐晨陽;“意”與“物”[D];中國藝術(shù)研究院;2009年

7 杜少虎;合群開蒙[D];中國藝術(shù)研究院;2009年

8 蒯連會;對“觀念至上”的反思[D];南京藝術(shù)學(xué)院;2009年

9 娜仁花;現(xiàn)實 寫實 真實[D];中國美術(shù)學(xué)院;2010年

10 徐曉東;二十世紀(jì)八十年代中國寫實油畫語言研究[D];中國藝術(shù)研究院;2010年

相關(guān)碩士學(xué)位論文 前10條

1 張妍妍;試論具象油畫語言的表現(xiàn)力[D];遼寧師范大學(xué);2010年

2 魏義;中國現(xiàn)實主義油畫的多維發(fā)展研究[D];遼寧師范大學(xué);2010年

3 崔龍范;德國表現(xiàn)主義對中國新表現(xiàn)主義油畫的影響[D];河北師范大學(xué);2010年

4 王t，

本文編號：2027854