淺析周氏兄弟的繪畫藝術(shù)
發(fā)布時間：2018-08-26 16:41
【摘要】：周氏兄弟的繪畫藝術(shù)深受其家鄉(xiāng)廣西花山巖畫的影響,他們在繪畫中注入少數(shù)民族原始的精神力量,把壯族祖先的原始藝術(shù)和其他中國傳統(tǒng)藝術(shù)形式結(jié)合在西方現(xiàn)代繪畫藝術(shù)實踐中,創(chuàng)作出獨具一格的抽象繪畫風格,使民族藝術(shù)融匯于當今世界藝術(shù)中。在20世紀80年代中期,周氏兄弟的抽象表現(xiàn)繪畫風格促進了中國美術(shù)界新藝術(shù)發(fā)展時期的到來,但是他們在國內(nèi)新潮美術(shù)運動到達高潮之前離開了中國,所以在國內(nèi)美術(shù)界少有人知曉他們的名字。在周氏兄弟的繪畫藝術(shù)中,既體現(xiàn)了對中國古代藝術(shù)精神的永久價值的追求,也融入了對西方現(xiàn)代藝術(shù)的理解,是“古為今用”和“洋為中用”的成功典范。本論文從周氏兄弟所生活的時代背景出發(fā),重點分析周氏兄弟在本土時期的繪畫演變過程和在國外各個時期的藝術(shù)語言特征,并得出以下結(jié)論：在當代多元藝術(shù)背景下,中國豐富的民族藝術(shù)形式和悠久的傳統(tǒng)文化可以成為滋養(yǎng)中國藝術(shù)家獲得藝術(shù)靈感的源泉。通過借鑒和發(fā)展中國的傳統(tǒng)藝術(shù)表現(xiàn)形式,能使中國當代藝術(shù)煥發(fā)出新的生機和光彩。
[Abstract]:The Zhou brothers' painting art was deeply influenced by the rock paintings in their hometown of Huashan, Guangxi. They injected the original spiritual strength of the minority nationalities into their paintings. Combining the primitive art of Zhuang ancestors with other traditional Chinese art forms in the practice of western modern painting art, it creates a unique abstract painting style, which makes the national art merge into the art of the world today. In the mid-1980s, the Zhou brothers' abstract style of painting promoted the arrival of the new art development period in Chinese art circles, but they left China before the upsurge of the domestic trendy art movement. So few people in the domestic art world know their names. In the painting art of the Zhou brothers, it not only embodies the pursuit of the eternal value of the ancient Chinese artistic spirit, but also integrates the understanding of the western modern art. It is a successful example of "using the past for the present" and "using the foreign as the Chinese". Starting from the background of the times in which the brothers lived, this paper focuses on the evolution of their paintings in the local period and the characteristics of their artistic language in various periods abroad, and draws the following conclusions: under the background of contemporary pluralistic art, China's rich national art forms and long-standing traditional culture can nourish Chinese artists to get the source of artistic inspiration. By drawing lessons from and developing Chinese traditional art forms, Chinese contemporary art can radiate new vitality and brilliance.
【學位授予單位】：華東師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J205
本文編號：2205520
[Abstract]:The Zhou brothers' painting art was deeply influenced by the rock paintings in their hometown of Huashan, Guangxi. They injected the original spiritual strength of the minority nationalities into their paintings. Combining the primitive art of Zhuang ancestors with other traditional Chinese art forms in the practice of western modern painting art, it creates a unique abstract painting style, which makes the national art merge into the art of the world today. In the mid-1980s, the Zhou brothers' abstract style of painting promoted the arrival of the new art development period in Chinese art circles, but they left China before the upsurge of the domestic trendy art movement. So few people in the domestic art world know their names. In the painting art of the Zhou brothers, it not only embodies the pursuit of the eternal value of the ancient Chinese artistic spirit, but also integrates the understanding of the western modern art. It is a successful example of "using the past for the present" and "using the foreign as the Chinese". Starting from the background of the times in which the brothers lived, this paper focuses on the evolution of their paintings in the local period and the characteristics of their artistic language in various periods abroad, and draws the following conclusions: under the background of contemporary pluralistic art, China's rich national art forms and long-standing traditional culture can nourish Chinese artists to get the source of artistic inspiration. By drawing lessons from and developing Chinese traditional art forms, Chinese contemporary art can radiate new vitality and brilliance.
【學位授予單位】：華東師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J205
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2 張濤;;筆觸與肌理[J];美術(shù)教育研究;2011年05期
3 趙成清;;過程的意義——意象油畫的生發(fā)與演變[J];美術(shù)界;2007年12期
，本文編號：2205520
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