本文選題：歷史題材繪畫 + 藝術(shù)家��； 參考：《東北師范大學(xué)》2014年碩士論文

【摘要】：以歷史題材為主體的油畫創(chuàng)作源起歐洲,在20世紀(jì)初,因?yàn)橄冗M(jìn)知識(shí)分子的努力和革命社會(huì)形勢(shì)的需要與我們這個(gè)以傳統(tǒng)文化為主流的國(guó)家結(jié)緣。整個(gè)20世紀(jì)上半葉,中國(guó)歷史風(fēng)起云涌,這一藝術(shù)形式伴隨著動(dòng)蕩的社會(huì)環(huán)境在艱難中曲折前行；新中國(guó)成立后,由于政治環(huán)境相對(duì)穩(wěn)定和國(guó)家百?gòu)U待興的需要,歷史題材繪畫取得了較大發(fā)展,而后經(jīng)歷文革的洗禮,傷痕美術(shù)的思考,和85新潮后現(xiàn)當(dāng)代藝術(shù)的沖擊,現(xiàn)在歷史題材繪畫伴著新時(shí)期文化強(qiáng)國(guó)的春風(fēng)再度復(fù)興歸來(lái)�；赝话倌隁v史題材繪畫在中國(guó)的發(fā)展歷程,是復(fù)雜的,是艱辛的,然而本文并不是要論述歷史題材繪畫的發(fā)展歷程,而是通過(guò)這段復(fù)雜的藝術(shù)歷史,去分析影響歷史題材繪畫的種種因素,根據(jù)同西方同中國(guó)古代歷史題材繪畫的多方面比較,去說(shuō)明從事這類繪畫藝術(shù)的藝術(shù)家作為一個(gè)特殊的群體在歷史中和藝術(shù)中所扮演的角色關(guān)系。第一章開始直入主題的對(duì)新時(shí)期歷史題材繪畫復(fù)興的價(jià)值和意義進(jìn)行論述,并引述出藝術(shù)家在新時(shí)期以主體身份出現(xiàn)在藝術(shù)創(chuàng)作中的觀點(diǎn)。第二章對(duì)中西方由古至今的藝術(shù)創(chuàng)作進(jìn)行分析和探討,例證出藝術(shù)家在新時(shí)期歷史畫創(chuàng)作中主體地位的歷史由來(lái)和理論依據(jù)。并且分析了在新時(shí)期影響歷史題材繪畫創(chuàng)作的幾個(gè)關(guān)鍵性因素,引發(fā)了對(duì)歷史題材繪畫的話語(yǔ)權(quán)的思考。第三章論證了藝術(shù)家在藝術(shù)創(chuàng)作的主體性方面有其不可替代的特征和作用。又從新時(shí)期藝術(shù)家的創(chuàng)作實(shí)踐,思想變化以及與社會(huì)審美大眾的文化交流等方面舉例論證了藝術(shù)家在對(duì)歷史畫創(chuàng)作發(fā)展上面做出的不懈努力和非凡的藝術(shù)成就,同時(shí)說(shuō)明藝術(shù)家作為主體應(yīng)恪守的原則。第四章通過(guò)新時(shí)期具有代表性的藝術(shù)創(chuàng)作實(shí)例,分析歷史畫創(chuàng)作樣式和藝術(shù)語(yǔ)言的變化,通過(guò)藝術(shù)語(yǔ)言的流變看藝術(shù)家主體地位的回歸。在最后結(jié)語(yǔ)部分從歷史繪畫在新時(shí)期與外來(lái)文化的交流,面對(duì)藝術(shù)市場(chǎng)的沖擊,同社會(huì)審美大眾間的博弈等問(wèn)題方面提出自己的思考,總結(jié)性的對(duì)新時(shí)期歷史題材繪畫的發(fā)展和它的明天進(jìn)行展望�？偠灾�,歷史題材繪畫這一被奉為圭臬的藝術(shù)形式對(duì)于我們民族的文明傳承和審美教育有著不可替代的重要意義,新時(shí)期歷史題材繪畫的復(fù)興切合了時(shí)代的需求,藝術(shù)家在創(chuàng)作中的主體性符合了藝術(shù)潮流的發(fā)展,而屬于藝術(shù)家的,屬于歷史題材繪畫的明天必將更加輝煌。
[Abstract]:The oil painting with historical theme as the main body originated in Europe. At the beginning of the 20th century, because of the efforts of the advanced intellectuals and the need of the revolutionary social situation, we, the country with the traditional culture as the mainstream, were connected with each other. Throughout the first half of the 20th century, the history of China was surging, and this art form was twists and turns with the turbulent social environment. After the founding of New China, due to the relative stability of the political environment and the need for the country to flourish, Historical painting has made great progress, and then experienced the baptism of the Cultural Revolution, the reflection of scar art, and the impact of modern and contemporary art after 85 new trends. Looking back at the development of painting with historical themes in China in the past 100 years, it is complicated and arduous. However, this article is not to discuss the development of painting with historical themes, but through this complex art history. To analyze the various factors that affect the painting of historical subjects, according to the comparison between the Western painting and the painting of ancient Chinese historical themes in many aspects. To illustrate the role of artists in this art as a special group in history and art. The first chapter begins with the discussion of the value and significance of the revival of historical painting in the new period, and cites the point of view that the artist appeared in the art creation as the subject in the new period. The second chapter analyzes and discusses the artistic creation of China and the West from ancient to present, illustrating the historical origin and theoretical basis of the artist's main position in the creation of historical paintings in the new period. It also analyzes several key factors that influence the creation of historical painting in the new period, which leads to the thinking of the discourse right of historical painting. The third chapter demonstrates that artists have irreplaceable features and roles in the subjectivity of artistic creation. It also illustrates the artists' unremitting efforts and extraordinary artistic achievements in the development of historical paintings in terms of their creative practices, ideological changes and cultural exchanges with the social aesthetic masses in the new period. At the same time, it explains the principle that the artist should abide by as the subject. The fourth chapter through the representative artistic creation example of the new period, analyzes the historical painting creation style and the artistic language change, through the artistic language change to see the artist main body status return. In the last part of the conclusion from the historical painting in the new period and foreign culture exchanges, in the face of the impact of the art market, and the game with the social aesthetic public and other aspects of their own thinking. Summing up the development of historical painting in the new period and its future prospects. In a word, the art form of historical subject painting, which is regarded as the standard, has an irreplaceable significance for our nation's civilization inheritance and aesthetic education, and the revival of historical painting in the new period meets the needs of the times. The subjectivity of the artist in the creation accords with the development of the art trend, but belongs to the artist and the painting of the historical subject will be more brilliant tomorrow.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J209.2

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本文編號(hào)：2049466