本文選題：油畫藝術(shù) + 綜合材料　； 參考：《廣西師范大學(xué)》2014年碩士論文

【摘要】：從20世紀(jì)80年代西方繪畫被全面的介紹到我國,各種繪畫風(fēng)格都在我國被實(shí)驗(yàn)了一遍。布上綜合材料藝術(shù)也為我們漸漸的了解和熟悉。綜合藝術(shù)材料藝術(shù)在歐洲發(fā)展已經(jīng)有上百年歷史,從畢加索的第一幅布上拼貼繪畫到現(xiàn)在綜合材料藝術(shù)一直方興未艾,尤其在我國綜合材料還是一門新興學(xué)科,并逐漸的被引入學(xué)院教學(xué)中。本文試圖通過對西方材料藝術(shù)的視覺規(guī)律和材料創(chuàng)作技巧入手了解材料的基本特性。伴隨著科學(xué)技術(shù)的迅猛前進(jìn),各種新材料的層出不窮。材料也由傳統(tǒng)繪畫的載體轉(zhuǎn)身變?yōu)槔L畫語言的主體,藝術(shù)家在創(chuàng)作過程中逐漸的發(fā)現(xiàn)材料獨(dú)特的美感以及材料背后的人文價(jià)值。材料的發(fā)現(xiàn)極大地拓展了人們的視野,人們從新的視覺角度去看待環(huán)境,并利用材料與環(huán)境建立一種交流關(guān)系。材料的屬性和特質(zhì)成為藝術(shù)家的表達(dá)方式。對材料藝術(shù)的探索和實(shí)驗(yàn)不僅僅在材料藝術(shù)中而且還拓展到油畫、環(huán)境藝術(shù)中。綜合材料藝術(shù)的發(fā)展還帶動(dòng)對傳統(tǒng)技藝的研究和學(xué)習(xí)例如單培拉技法、調(diào)色液的研究和實(shí)驗(yàn)、各種材料之間的銜接方法等。不同媒介之間的銜接引發(fā)了不同學(xué)科之間的交流,取長補(bǔ)短,融會貫通。并不斷的引發(fā)新的知識和問題。 本文通過材料的審美特點(diǎn)為切入點(diǎn),逐漸的引出材料藝術(shù)的發(fā)展背景。分析材料藝術(shù)與傳統(tǒng)繪畫藝術(shù)的姻緣關(guān)系,了解材料藝術(shù)的基本發(fā)展歷程。逐漸的引出材料藝術(shù)獨(dú)特的視覺審美規(guī)律,以及材料藝術(shù)背后的社會和人文價(jià)值。 本文第一章對材料藝術(shù)產(chǎn)生和發(fā)展的基礎(chǔ)與條件進(jìn)行分析,了解材料藝術(shù)產(chǎn)生的原因和作品的時(shí)代特征,為展開進(jìn)一步研究奠定基礎(chǔ)。 第二章和第三章是對西方綜合材料藝術(shù)發(fā)展中的代表人物的分析,從而引出材料藝術(shù)與傳統(tǒng)藝術(shù)異同。第三章寫材料藝術(shù)與傳統(tǒng)規(guī)則的融合和矛盾的過程。 第四章對西方材料藝術(shù)的發(fā)展過程的基本概述。 第五章是文章的重點(diǎn),注重分析材料藝術(shù)獨(dú)特的視覺規(guī)律,從材料與造型、材料與色彩、材料的肌理效果、材料的質(zhì)地效果、材料的反光效果了解材料藝術(shù)的創(chuàng)作規(guī)律和特點(diǎn)。并結(jié)合材料的社會價(jià)值來挖掘材料藝術(shù)的深度。 第六章從人文價(jià)值的視角下重看材料的價(jià)值。主要從材料蘊(yùn)含的情感和材料藝術(shù)的自省批判價(jià)值認(rèn)識材料的啟示意義。
[Abstract]:From the 1980s Western painting to our country, all kinds of painting styles have been experimented in our country. The art of comprehensive material is gradually understood and familiar to us. The art of comprehensive art has been developed in Europe for a hundred years, from one of Picasso's first cloth to the present comprehensive material art. Art has always been in the ascendant, especially in China's comprehensive materials, which is still a new subject and gradually introduced into the college teaching. This article tries to understand the basic characteristics of the material through the visual and material creation techniques of the western material art. With the rapid progress of science and technology, various new materials emerge in endlessly. From the carrier of traditional painting to the main body of the painting language, the artist gradually discovered the unique beauty of the material and the humanistic value behind the material in the process of creation. The discovery of the material has greatly expanded the people's vision, people look at the environment from the new visual angle, and use the material and the environment to establish a kind of communication relationship. The exploration and experiment of material art is not only in material art but also in oil painting and environmental art. The development of comprehensive material art also leads to the research and study of traditional techniques, such as single pulla technique, research and experiment of coloring liquid, and the connection between various materials. The convergence of different media has led to the exchange of different disciplines, to complement each other, and to constantly lead to new knowledge and problems.
This article, through the aesthetic characteristics of the material, gradually leads to the background of the development of the material art, analyzes the relationship between the material art and the traditional painting art, and understands the basic development course of the material art, and gradually leads to the unique visual aesthetic law of the material art, as well as the social and humanistic values behind the material art.
The first chapter of this paper analyzes the basis and conditions of the production and development of the material art, to understand the causes of the art of material and the characteristics of the times, and to lay the foundation for further research.
The second chapter and the third chapter are the analysis of the representative figures in the development of the Western comprehensive material art, which leads to the similarities and differences between the material art and the traditional art. The third chapter writes the process of the fusion and contradiction of the material art and the traditional rules.
The fourth chapter outlines the development process of Western material art.
The fifth chapter is the focus of the article, focusing on the analysis of the unique visual law of material art, from material and modeling, material and color, material texture effect, material texture effect, material's reflective effect to understand the creative law and characteristics of material art, and to excavate the depth of material art in combination with the social value of material.
The sixth chapter focuses on the value of material from the perspective of humanistic value. It mainly understands the significance of material from the emotion of material and the critical value of the self reflection of material art.
【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】：2014
【分類號】：J213

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