肌理在油畫中的形式美與情感表現(xiàn)之研究
發(fā)布時間：2018-07-22 20:29
【摘要】：肌理是最重要的油畫語言之一。在油畫的發(fā)展史上,油畫肌理的發(fā)展伴隨著油畫技法、藝術(shù)觀念、審美意識的發(fā)展而不斷發(fā)展。肌理在油畫中的獨(dú)特運(yùn)用使得作品產(chǎn)生出不同的審美趣味與形式美感,古今中外,概莫能外。從倫勃朗的真實(shí)透明到梵高的熱烈跳躍,從吳冠中的輕松率性到王沂東的細(xì)膩精致,從弗洛伊德的直接厚重到趙無極的飄渺空靈,都是以其獨(dú)特的肌理的運(yùn)用所產(chǎn)生趣味而達(dá)到的視覺效果,從而樹立起強(qiáng)烈的個人風(fēng)格面貌忝列世界藝術(shù)之林。在油畫本土化的過程中,我們應(yīng)該探索和創(chuàng)造屬于我們自己的、既能發(fā)揚(yáng)油畫自身優(yōu)勢,又具有民族精神和個人特色的油畫語言,真正創(chuàng)造出面貌風(fēng)格獨(dú)特鮮明的油畫作品。 本文在前三章,縱向研究了油畫肌理的發(fā)展史,橫向比較和探討了國內(nèi)外油畫肌理的異同與特點(diǎn),發(fā)掘了油畫肌理語言在油畫藝術(shù)內(nèi)涵和油畫藝術(shù)本質(zhì)中的重要作用。但由于研究的最終目的是為了創(chuàng)作與發(fā)揚(yáng),因此第四章是整篇文章的落腳點(diǎn),也是重點(diǎn)內(nèi)容。作者通過十張自己創(chuàng)作的作品對油畫肌理進(jìn)行了全面的探索。首先是創(chuàng)作油畫肌理的三種方法,每種方法創(chuàng)作了一幅作品,對這些方法進(jìn)行實(shí)踐,從而得出第一手的感受。接著通過對傳統(tǒng)元素和對大師的借鑒創(chuàng)作了融合傳統(tǒng)藝術(shù)精神的三幅作品,并逐一做了深入的解析。在前面創(chuàng)作和積累的基礎(chǔ)上,通過綜合的借鑒和個人對生活和藝術(shù)的思考,以四幅自己創(chuàng)作的作品為例,探索創(chuàng)造屬于自己的符號化語言,形成屬于自己的風(fēng)格。最后就創(chuàng)作過程中的感受進(jìn)行綜合的剖析。所以,在最后一部分,文章探討了油畫肌理與東方文化融合的可行之路。一方面,深厚的本土文化和獨(dú)樹一幟的藝術(shù)形式使我們?nèi)≈槐M的靈感源泉,我們要積極學(xué)習(xí)和吸收本土文化,融入到自己創(chuàng)作中,另一方面我們要發(fā)揮自身的能動性,不斷摸索,創(chuàng)造屬于自己的油畫肌理,更好的運(yùn)用油畫肌理語言創(chuàng)作出更加有個性、有特色,反映油畫藝術(shù)本質(zhì)和藝術(shù)美感的作品。
[Abstract]:Texture is one of the most important oil painting language. In the history of the development of oil painting, the development of oil painting texture is accompanied by the development of oil painting techniques, artistic concepts and aesthetic consciousness. The unique application of texture in oil painting makes the works produce different aesthetic tastes and aesthetic sense of form. From Rembrandt's true transparency to Van Gogh's enthusiastic jump, from Wu Guanzhong's ease to Wang Yidong's delicacy, from Freud's direct thickness to Zhao Wuji's ethereal spirit, It is the visual effect which is produced by the use of its unique texture, and thus sets up a strong personal style to list the world art forest. In the process of localization of oil painting, we should explore and create our own oil painting language, which can not only carry forward the advantages of oil painting itself, but also have national spirit and personal characteristics, so as to truly create a unique and distinctive style of oil paintings. In the first three chapters, this paper studies the development history of oil painting texture, compares and discusses the similarities and differences of oil painting texture at home and abroad, and explores the important role of oil painting texture language in the connotation and essence of oil painting art. But because the ultimate purpose of the study is to create and carry forward, so the fourth chapter is the foothold of the whole article, but also the key content. The author explores the texture of oil painting through ten pieces of his own works. The first is the three methods of oil painting texture, each method of creating a work, to practice these methods, so as to get a first-hand feeling. Then through the traditional elements and the master to draw lessons from the creation of the traditional spirit of the three works, and one by one to do in-depth analysis. On the basis of the previous creation and accumulation, through the comprehensive reference and personal thinking on life and art, taking four works created by oneself as an example, this paper explores the creation of symbolic language belonging to oneself and forms its own style. Finally, the feelings in the process of creation are comprehensively analyzed. Therefore, in the last part, the article discusses the feasible way of oil painting texture and oriental culture fusion. On the one hand, the profound local culture and unique art form make us inexhaustible source of inspiration. We must actively study and absorb local culture and integrate it into our own creation. On the other hand, we should give play to our own initiative. Constantly groping, creating their own oil painting texture, a better use of oil painting texture language to create more personality, have characteristics, reflect the essence of oil painting and artistic aesthetic works.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J213
本文編號：2138480
[Abstract]:Texture is one of the most important oil painting language. In the history of the development of oil painting, the development of oil painting texture is accompanied by the development of oil painting techniques, artistic concepts and aesthetic consciousness. The unique application of texture in oil painting makes the works produce different aesthetic tastes and aesthetic sense of form. From Rembrandt's true transparency to Van Gogh's enthusiastic jump, from Wu Guanzhong's ease to Wang Yidong's delicacy, from Freud's direct thickness to Zhao Wuji's ethereal spirit, It is the visual effect which is produced by the use of its unique texture, and thus sets up a strong personal style to list the world art forest. In the process of localization of oil painting, we should explore and create our own oil painting language, which can not only carry forward the advantages of oil painting itself, but also have national spirit and personal characteristics, so as to truly create a unique and distinctive style of oil paintings. In the first three chapters, this paper studies the development history of oil painting texture, compares and discusses the similarities and differences of oil painting texture at home and abroad, and explores the important role of oil painting texture language in the connotation and essence of oil painting art. But because the ultimate purpose of the study is to create and carry forward, so the fourth chapter is the foothold of the whole article, but also the key content. The author explores the texture of oil painting through ten pieces of his own works. The first is the three methods of oil painting texture, each method of creating a work, to practice these methods, so as to get a first-hand feeling. Then through the traditional elements and the master to draw lessons from the creation of the traditional spirit of the three works, and one by one to do in-depth analysis. On the basis of the previous creation and accumulation, through the comprehensive reference and personal thinking on life and art, taking four works created by oneself as an example, this paper explores the creation of symbolic language belonging to oneself and forms its own style. Finally, the feelings in the process of creation are comprehensively analyzed. Therefore, in the last part, the article discusses the feasible way of oil painting texture and oriental culture fusion. On the one hand, the profound local culture and unique art form make us inexhaustible source of inspiration. We must actively study and absorb local culture and integrate it into our own creation. On the other hand, we should give play to our own initiative. Constantly groping, creating their own oil painting texture, a better use of oil painting texture language to create more personality, have characteristics, reflect the essence of oil painting and artistic aesthetic works.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J213
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