論后印象主義繪畫對(duì)當(dāng)代中國(guó)油畫風(fēng)景創(chuàng)作的影響
發(fā)布時(shí)間：2018-08-02 12:17
【摘要】：在本文中,我的研究過程是這樣的:以第一章作為緒論,綜合了選題、背景和研究意義。在選題背景當(dāng)中,我簡(jiǎn)要分析了在現(xiàn)代繪畫產(chǎn)生以前的繪畫史和繪畫流派發(fā)展的進(jìn)程,再?gòu)某鯇W(xué)繪畫的角度縱觀繪畫的演變和發(fā)展。又在從古至今的發(fā)展變化中總結(jié)出當(dāng)代繪畫發(fā)展的必然性,為我的研究做一個(gè)深厚的鋪墊。這樣才能為研究意義列出廣泛的課題。正如文中提到在后印象主義產(chǎn)生之前,國(guó)外和國(guó)內(nèi)的繪畫發(fā)展?fàn)顟B(tài),以及在后印象主義影響后世之后,我國(guó)當(dāng)代繪畫的現(xiàn)狀。既然有影響,那么都在哪些方面、哪種觀念和哪種程度上有影響呢?也因此本文涉及到第一個(gè)重點(diǎn)章節(jié)——研究意義。當(dāng)代中國(guó)油畫風(fēng)景創(chuàng)作呈現(xiàn)出復(fù)雜多樣的畫風(fēng)。分析這種現(xiàn)狀也是難上加難,這其中就關(guān)系到本國(guó)繪畫發(fā)展的特殊性。我們沒有來得及跟上世界美術(shù)發(fā)展的腳步,卻要突然面對(duì)五花八門的藝術(shù)流派。展現(xiàn)在我們面前的是我們不熟悉、不了解,有時(shí)卻要盲目反對(duì)、盲目吸收的未知事物。當(dāng)代中國(guó)的現(xiàn)代藝術(shù)由于沒有深厚的根基和豐滿的羽翼,造成傷痕累累的發(fā)展現(xiàn)狀,卻也能在其中看到展露頭腳的新生力量。研究后印象主義對(duì)當(dāng)代中國(guó)油畫風(fēng)景創(chuàng)作的影響,才能明確未來藝術(shù)發(fā)展的方向。我在文中列出了一系列的研究?jī)?nèi)容和方法為繼續(xù)行文做了基本的研究指導(dǎo),在前四個(gè)章節(jié)中逐個(gè)研究和分析,并不斷的列出論點(diǎn)、論據(jù),嚴(yán)謹(jǐn)認(rèn)真地論證自己所提出的論點(diǎn)。綜合所有在本文出現(xiàn)的論段,在最后的第五章給出總的結(jié)論,使讀者能夠跟隨我的引導(dǎo)穿起整篇文章,共同探討結(jié)論。在第二章中,著重探討后印象主義繪畫與中國(guó)油畫風(fēng)景創(chuàng)作的關(guān)系。主要論述其定義、產(chǎn)生和發(fā)展,并列舉其中幾位著名畫家及代表作的意義。簡(jiǎn)要論述其繪畫理念和情感表達(dá)的方式。結(jié)合中國(guó)油畫的發(fā)展以及現(xiàn)狀,闡述二者之間的關(guān)系成為本章要點(diǎn)。綜合以上論述為本文最重要的章節(jié)。第三章打好理論基礎(chǔ),在第三章提出本文最重要的論題——后印象主義繪畫對(duì)當(dāng)代中國(guó)油畫風(fēng)景創(chuàng)作的影響。在哪些方面和因素上有影響?影響到什么?成為主要論點(diǎn)匯聚的章節(jié)。在此我用舉實(shí)例論證的方法詳細(xì)闡述本文的中心論題,美術(shù)史的發(fā)展為我提供了充足的論據(jù),在此不一一舉證。讀者和各位導(dǎo)師能在文中逐個(gè)鑒閱。另外,對(duì)當(dāng)代中國(guó)油畫風(fēng)景創(chuàng)作的影響也是顯而易見的。我將在文中著重論述這種影響所留有的繪畫印跡和受到影響之后的啟示和變化。在第四章和第五章中,綜述和總結(jié)本文的論點(diǎn)、論題成為重點(diǎn)任務(wù),結(jié)合自身在學(xué)習(xí)期間的體會(huì),提出個(gè)人的繪畫發(fā)展方向,并順應(yīng)中西合璧的時(shí)代大潮。最終希望油畫風(fēng)景能夠進(jìn)入民眾心間。
[Abstract]:In this paper, my research process is as follows: the first chapter as an introduction, comprehensive topics, background and research significance. In the background, I briefly analyze the history of painting and the development of painting schools before the emergence of modern painting, and then look at the evolution and development of painting from the perspective of beginner painting. From ancient to present, the author sums up the inevitability of the development of contemporary painting, and makes a deep foundation for my research. In this way, a wide range of topics can be listed for the significance of the research. Just as mentioned in the article before the emergence of post-impressionism, foreign and domestic painting development, and after the post-Impressionism influence of later generations, the status quo of contemporary painting in China. If so, in what ways, to what extent and to what extent? Therefore, this paper involves the first key chapter-the significance of research. Contemporary Chinese oil painting landscape creation presents complex and diverse painting style. Analysis of this situation is even more difficult, which is related to the particularity of the development of national painting. We do not have time to keep up with the pace of the development of art in the world, but suddenly face a wide range of art schools. In front of us are unknown things that we do not know, understand, and sometimes blindly oppose and absorb. The modern art of contemporary China has no deep foundation and full wings, resulting in a scarred development situation, but it can also see the new strength of showing its head and feet. Only by studying the influence of post-impressionism on contemporary Chinese oil painting landscape creation can we make clear the direction of art development in the future. In this paper, I have listed a series of research contents and methods for the continuation of the basic research guidance, in the first four chapters one by one study and analysis, and continue to list arguments, rigorous and serious argument. By synthesizing all the paragraphs that appear in this paper, a general conclusion is given in the last chapter, so that the reader can follow my guidance and get through the whole article and discuss the conclusion together. In the second chapter, the relationship between post-impressionism painting and Chinese oil painting landscape creation is discussed. It mainly discusses its definition, emergence and development, and enumerates the significance of several famous painters and their representative works. This paper briefly discusses its painting idea and the way of expression of emotion. Combined with the development and current situation of Chinese oil painting, the relationship between the two becomes the main point of this chapter. Synthesizing above exposition is the most important chapter of this article. The third chapter lays a good theoretical foundation, in the third chapter puts forward the most important topic of this paper-post-Impressionism painting on contemporary Chinese oil painting landscape creation. In what ways and factors? Affect what? A chapter where the main arguments converge. Here I use the method of case study to elaborate the central topic of this paper, the development of art history provides me with sufficient arguments, not one of the proof here. Readers and mentors can read one by one in this article. In addition, the impact on contemporary Chinese oil painting landscape creation is also obvious. In this paper, I will focus on the impact of the left prints and the impact of enlightenment and change. In the fourth and fifth chapters, it summarizes and summarizes the arguments of this paper, the topic becomes the key task, combined with their own experience during the study period, put forward the direction of personal painting development, and conform to the trend of the times of the combination of Chinese and Western. Finally, I hope the oil painting scenery can enter the hearts of the people.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J213
本文編號(hào)：2159415
[Abstract]:In this paper, my research process is as follows: the first chapter as an introduction, comprehensive topics, background and research significance. In the background, I briefly analyze the history of painting and the development of painting schools before the emergence of modern painting, and then look at the evolution and development of painting from the perspective of beginner painting. From ancient to present, the author sums up the inevitability of the development of contemporary painting, and makes a deep foundation for my research. In this way, a wide range of topics can be listed for the significance of the research. Just as mentioned in the article before the emergence of post-impressionism, foreign and domestic painting development, and after the post-Impressionism influence of later generations, the status quo of contemporary painting in China. If so, in what ways, to what extent and to what extent? Therefore, this paper involves the first key chapter-the significance of research. Contemporary Chinese oil painting landscape creation presents complex and diverse painting style. Analysis of this situation is even more difficult, which is related to the particularity of the development of national painting. We do not have time to keep up with the pace of the development of art in the world, but suddenly face a wide range of art schools. In front of us are unknown things that we do not know, understand, and sometimes blindly oppose and absorb. The modern art of contemporary China has no deep foundation and full wings, resulting in a scarred development situation, but it can also see the new strength of showing its head and feet. Only by studying the influence of post-impressionism on contemporary Chinese oil painting landscape creation can we make clear the direction of art development in the future. In this paper, I have listed a series of research contents and methods for the continuation of the basic research guidance, in the first four chapters one by one study and analysis, and continue to list arguments, rigorous and serious argument. By synthesizing all the paragraphs that appear in this paper, a general conclusion is given in the last chapter, so that the reader can follow my guidance and get through the whole article and discuss the conclusion together. In the second chapter, the relationship between post-impressionism painting and Chinese oil painting landscape creation is discussed. It mainly discusses its definition, emergence and development, and enumerates the significance of several famous painters and their representative works. This paper briefly discusses its painting idea and the way of expression of emotion. Combined with the development and current situation of Chinese oil painting, the relationship between the two becomes the main point of this chapter. Synthesizing above exposition is the most important chapter of this article. The third chapter lays a good theoretical foundation, in the third chapter puts forward the most important topic of this paper-post-Impressionism painting on contemporary Chinese oil painting landscape creation. In what ways and factors? Affect what? A chapter where the main arguments converge. Here I use the method of case study to elaborate the central topic of this paper, the development of art history provides me with sufficient arguments, not one of the proof here. Readers and mentors can read one by one in this article. In addition, the impact on contemporary Chinese oil painting landscape creation is also obvious. In this paper, I will focus on the impact of the left prints and the impact of enlightenment and change. In the fourth and fifth chapters, it summarizes and summarizes the arguments of this paper, the topic becomes the key task, combined with their own experience during the study period, put forward the direction of personal painting development, and conform to the trend of the times of the combination of Chinese and Western. Finally, I hope the oil painting scenery can enter the hearts of the people.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J213
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