探究莫奈繪畫中的“氣韻美”
發(fā)布時間：2018-10-16 17:21
【摘要】：繪畫藝術(shù)作為文化的一種,它不受種族、國家和信仰的約束,即使以完全不同的表現(xiàn)方式誕生和發(fā)展于完全不同的歷史背景下,但是終會沖破一切阻礙為全世界人民知曉、領(lǐng)會其魅力。人們在駐足觀賞這些前人創(chuàng)造的藝術(shù)作品時感受到作者在他那個時代對生活對自我的理解,能讓觀者眼前再現(xiàn)出那個創(chuàng)作時面對的真實場景以及創(chuàng)作者那一刻的心緒。藝術(shù)無國界。東西方繪畫藝術(shù)發(fā)展中,歷代藝術(shù)創(chuàng)作者和理論研究者對繪畫藝術(shù)的理解存在著許多共通之處,時光可以讓它們相融合。繪畫最初出現(xiàn)都是以一些簡單圖案的形式,是為了記錄生活中的一切,是人類進步中產(chǎn)生的對美的需求,是高于溫飽、物質(zhì)的精神層面的需求。各個時期的藝術(shù)創(chuàng)作者成長環(huán)境不一樣,對生活的理解不一樣,受教育背景的程度或者方式不一樣,內(nèi)省的深度不一樣,藝術(shù)的表達方式自然不一樣。但他們對藝術(shù)追求的最終目的卻總是不禁相同:尋找美和自我。莫奈是西方油畫創(chuàng)作歷史發(fā)展中的重要代表藝術(shù)家之一,是他將印象派的精髓提煉并傳播,終其一生使印象派在世界藝術(shù)史的長河里立于重要地位。他的一生都在詮釋藝術(shù)的純真,把印象派作為自己人生的信仰,自從找到自我“印象”,一生鐘愛。謝赫是中國傳統(tǒng)繪畫藝術(shù)理論體系的總結(jié)者,也是引導者。二者在不同的國度和歷史背景下都將一生獻給了藝術(shù),獻給了人類文明,在對待繪畫上的理解似乎都在找“感覺”。將莫奈的藝術(shù)創(chuàng)作和中國傳統(tǒng)藝術(shù)相提并論最值得探討的地方在于他們各自的藝術(shù)核心:印象——氣韻。本文第一章節(jié)為序言部分,介紹了與本論文相關(guān)的國內(nèi)外研究近況、選題的研究目的和意義、本論文研究的基本思路和方法;第二章簡要敘述莫奈的大致生平以及“氣韻說”出處來自于中國傳統(tǒng)繪畫藝術(shù)的理論研究成果,以此作為展開論題的鋪墊,探究莫奈繪畫藝術(shù)中的藝術(shù)特征以及帶有東方韻味的藝術(shù)表現(xiàn),由此證明中西方對繪畫藝術(shù)的認識和發(fā)展規(guī)律存在相融、共通之處;第三章節(jié)例舉莫奈作品,解讀莫奈繪畫藝術(shù),分析其中獨特的氣韻,獨特的藝術(shù)美;第四章為探究本論題所得啟發(fā)。
[Abstract]:The art of painting as a kind of culture is not bound by race, country or faith, even though it is born and developed in a completely different historical background in a completely different way, it will eventually break through all obstacles and be known to the people of the world. Grasp its charm. When people stop to see these works of art created by their predecessors, they feel that the author's understanding of life in his time can make the viewer reappear the real scene in front of him and the mood of the creator at that moment. Art knows no borders. In the development of painting art in East and West, there are many common points in the understanding of painting art by the creators and theoretical researchers of the past dynasties, which can be combined by time. Painting appeared in the form of some simple patterns in order to record everything in life, is the human progress of the demand for beauty, is higher than food and clothing, material spiritual needs. Art creators in different periods have different growing environment, different understanding of life, different education background or different ways, different introspection, different artistic expression. But the ultimate aim of their pursuit of art is always the same: looking for beauty and self. Monet is one of the important representative artists in the development of western oil painting history. He refined and disseminated the essence of Impressionism and made Impressionism stand in an important position in the world art history all his life. His whole life was to explain the innocence of art, regard Impressionism as his belief in life, since he found his own "impression", he loved it all his life. Sheikha is a summary of the theoretical system of Chinese traditional painting art, and also a guide. In different countries and historical backgrounds, both devote their lives to art and human civilization, and their understanding of painting seems to be looking for "feeling". Comparing Monet's artistic creation with Chinese traditional art is worth discussing in their respective artistic core: impression-charm. The first chapter of this paper is the preface, which introduces the recent research situation at home and abroad, the purpose and significance of the topic, the basic ideas and methods of this paper. The second chapter gives a brief account of the life of Monet and the provenance of "Qiyun Theory" from the theoretical research results of Chinese traditional painting art. This paper probes into the artistic characteristics of Monet's painting art and its artistic expression with oriental charm, which proves that the understanding and development law of painting art in China and the West are in harmony and common; the third chapter gives an example of Monet's works. Unscramble Monet's painting art, analyze its unique charm and unique artistic beauty.
【學位授予單位】：貴州師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J205
本文編號：2275103
[Abstract]:The art of painting as a kind of culture is not bound by race, country or faith, even though it is born and developed in a completely different historical background in a completely different way, it will eventually break through all obstacles and be known to the people of the world. Grasp its charm. When people stop to see these works of art created by their predecessors, they feel that the author's understanding of life in his time can make the viewer reappear the real scene in front of him and the mood of the creator at that moment. Art knows no borders. In the development of painting art in East and West, there are many common points in the understanding of painting art by the creators and theoretical researchers of the past dynasties, which can be combined by time. Painting appeared in the form of some simple patterns in order to record everything in life, is the human progress of the demand for beauty, is higher than food and clothing, material spiritual needs. Art creators in different periods have different growing environment, different understanding of life, different education background or different ways, different introspection, different artistic expression. But the ultimate aim of their pursuit of art is always the same: looking for beauty and self. Monet is one of the important representative artists in the development of western oil painting history. He refined and disseminated the essence of Impressionism and made Impressionism stand in an important position in the world art history all his life. His whole life was to explain the innocence of art, regard Impressionism as his belief in life, since he found his own "impression", he loved it all his life. Sheikha is a summary of the theoretical system of Chinese traditional painting art, and also a guide. In different countries and historical backgrounds, both devote their lives to art and human civilization, and their understanding of painting seems to be looking for "feeling". Comparing Monet's artistic creation with Chinese traditional art is worth discussing in their respective artistic core: impression-charm. The first chapter of this paper is the preface, which introduces the recent research situation at home and abroad, the purpose and significance of the topic, the basic ideas and methods of this paper. The second chapter gives a brief account of the life of Monet and the provenance of "Qiyun Theory" from the theoretical research results of Chinese traditional painting art. This paper probes into the artistic characteristics of Monet's painting art and its artistic expression with oriental charm, which proves that the understanding and development law of painting art in China and the West are in harmony and common; the third chapter gives an example of Monet's works. Unscramble Monet's painting art, analyze its unique charm and unique artistic beauty.
【學位授予單位】：貴州師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J205
【參考文獻】
相關(guān)期刊論文 前4條
1 王魯湘;;關(guān)于洪凌的碎片記錄[J];中國油畫;2016年01期
2 楊飛云;;藝途感言[J];中國油畫;2016年01期
3 胡家祥;;簡論“氣韻”范疇的基礎(chǔ)理論意義[J];文學評論;2007年06期
4 王大衛(wèi);;比較與評析張彥遠、郭若虛對“氣韻生動”的解釋[J];美與時代;2007年08期
相關(guān)碩士學位論文 前3條
1 曾雙鳳;莫奈油畫創(chuàng)作中的藝術(shù)情感[D];湖南科技大學;2015年
2 張榮浩;淺談中國風景油畫中的氣韻[D];湖南師范大學;2012年
3 盧云霞;從普桑到莫奈[D];山東師范大學;2006年
，本文編號：2275103
本文鏈接：http://sikaile.net/wenyilunwen/huihuayishu/2275103.html
