【摘要】：風(fēng)景油畫是以大自然為描繪對(duì)象進(jìn)行創(chuàng)作的繪畫。其審美情感價(jià)值高低在于從事藝術(shù)創(chuàng)作的藝術(shù)家是否真實(shí)地表達(dá)了自己的審美理想，是否使被描繪的景象傳達(dá)出人文的神韻和氣息，從而引起觀賞者情感的共鳴，給予觀賞者的美的情感享受。 寫生的過程并不是對(duì)外界客觀事物的機(jī)械描繪，而應(yīng)該發(fā)揮畫家的自覺能動(dòng)性，使畫家的主觀意識(shí)能夠在作品中得到體現(xiàn)。作為一個(gè)畫家，應(yīng)該知道繪畫的價(jià)值在什么地方，“外師造化，中得心源”，，風(fēng)景寫生是一個(gè)雙料過程，既要注重主觀意識(shí)的表達(dá)，又要尊重客觀物象的規(guī)律。風(fēng)景油畫的創(chuàng)作對(duì)于色彩組合與運(yùn)用的要求要明顯的高于風(fēng)景油畫寫生。在風(fēng)景油畫的創(chuàng)作實(shí)踐中，對(duì)于光線、色彩的變化感受，不能拘泥于是否符合色彩理論，更不能只是單純的復(fù)制自然景物�！皩懸狻睗B透了中國本土文化藝術(shù)創(chuàng)造的基本要素和文化積淀，這種超越于形象與技法的藝術(shù)表現(xiàn)方式，再現(xiàn)的是藝術(shù)家的心靈深處以及宇宙萬物的精神融合。通過風(fēng)景寫生這一方式來實(shí)踐油畫民族化的理論命題。但是當(dāng)前的油畫領(lǐng)域，有一部分人對(duì)本土文化有一種自卑感，他們雖然用油畫技法表現(xiàn)了中國本土的山山水水，卻很難感動(dòng)人心，這其中所缺失的民族精神不能不說與之無關(guān)。 在今天，我們?cè)谶@個(gè)大的時(shí)代環(huán)境下，要勇于面對(duì)新的社會(huì)責(zé)任與文化使命，勤奮的探索，努力使油畫藝術(shù)在新的時(shí)代背景之下呈現(xiàn)出更為繽紛多姿的面貌。不論是表現(xiàn)手段、還是繪畫題材、創(chuàng)作手段、表現(xiàn)語言的等方面，我們當(dāng)代藝術(shù)從業(yè)者都在尋找創(chuàng)新與突破……
[Abstract]:Landscape oil painting is a painting that is created with nature as the object of description. The value of its aesthetic emotion lies in whether the artist engaged in artistic creation truly expresses his aesthetic ideal, whether the painted scene conveys the charm and breath of humanism, thus arousing the emotional resonance of the viewer. The emotional enjoyment of beauty to the viewer. The process of sketching is not the mechanical description of the external objective things, but the exertion of the painters' conscious initiative so that the painter's subjective consciousness can be reflected in his works. As a painter, we should know where the value of painting lies, "the outside teacher creates, the heart source", the landscape sketch is a two-material process, should pay attention to the expression of subjective consciousness, but also to respect the law of objective objects. The requirement of color combination and application of landscape oil painting is obviously higher than that of landscape painting. In the creative practice of landscape oil painting, the changes of light and color can not be confined to the theory of color or not, nor can it simply copy the natural scenery. "freehand brushwork" permeates the basic elements and cultural accumulation of Chinese native culture and art creation, which transcends the artistic expression of image and technique, and reproduces the soul of the artist and the spiritual fusion of all things in the universe. Through the landscape sketch this way to practice the oil painting nationalization theory proposition. However, in the field of oil painting, some people have a sense of inferiority to native culture. Although they use oil painting techniques to express the landscape of Chinese native land, it is difficult to be moved by the people. The national spirit that is lacking in this field cannot but be said to have nothing to do with it. Today, we must face the new social responsibility and cultural mission, diligently explore, and strive to make the oil painting art show a more colorful face under the new era background. Whether it is means of expression, painting, creative means, performance language and other aspects, we contemporary art practitioners are looking for innovation and breakthrough.
【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 吳大鵬;;風(fēng)景油畫創(chuàng)作中的東方審美情趣[J];神州;2011年23期

本文編號(hào)：2203374