【摘要】：高臺(tái)民居系列繪畫研究是以繪畫的實(shí)踐為例的論文,這一繪畫題材的發(fā)現(xiàn)來(lái)自于藝術(shù)考察。對(duì)于在藝術(shù)考察中發(fā)現(xiàn)的層層疊疊的平面化的藝術(shù)美進(jìn)行了一系列的繪畫實(shí)驗(yàn)。這一系列實(shí)驗(yàn)繪畫主要分成三個(gè)小的系列,這三個(gè)小的系列分別是“疊面分割系列”、“黃色系列”、“清真寺系列”。疊面系列的作品以研究畫面的平面化分割與色塊色彩之間的對(duì)比融合為主,黃色系列在注重畫面平面化基礎(chǔ)上加強(qiáng)了對(duì)運(yùn)筆的運(yùn)用,教堂系列是一種對(duì)構(gòu)圖與筆觸的訓(xùn)練。高臺(tái)民居生土系列作品主要脫塵于自己對(duì)于表現(xiàn)主義繪畫中的平面化形式的研究和實(shí)踐運(yùn)用,當(dāng)然也離不開新疆繪畫前輩的影響。繪畫的形式離不開繪畫背后的思想,也即繪畫的觀念,那么表現(xiàn)主義繪畫的思想是什么?表現(xiàn)主義畫家認(rèn)為,藝術(shù)要表達(dá)人類的“內(nèi)在信息”,以及人自身的內(nèi)在情感與思想,藝術(shù)要直接通過(guò)自身的表達(dá)來(lái)變革社會(huì)現(xiàn)實(shí),而不要以客觀現(xiàn)實(shí)的描繪來(lái)復(fù)現(xiàn)現(xiàn)實(shí),借以表達(dá)教育和訓(xùn)誡的目的。他們特別強(qiáng)調(diào)人的感情的力量和主觀的天性,借以表達(dá)人對(duì)客觀世界的奮爭(zhēng)與苦斗,并以此建立新的藝術(shù)和生活的關(guān)系。他們還強(qiáng)調(diào)精神美感的作用,認(rèn)為藝術(shù)不能只表現(xiàn)可視的可模仿的客觀現(xiàn)實(shí),而表現(xiàn)內(nèi)在的,不可見的精神世界。結(jié)合油畫創(chuàng)作,對(duì)于高臺(tái)民居繪畫題材的創(chuàng)作在以畫面平面分割的研究上是行的通的,畫面大的布局就是畫面的構(gòu)圖,而構(gòu)圖則依賴于畫面中形和色的分割。高臺(tái)民居從這一繪畫題材的特性(層層疊疊之美)上正是適合畫面的平面化的分割。這一系列繪畫的研究多從表現(xiàn)主義繪畫的藝術(shù)思想和藝術(shù)手法中吸取營(yíng)養(yǎng)。表現(xiàn)主義繪畫的語(yǔ)言在中西方當(dāng)代繪畫中,特別是新疆當(dāng)代繪畫中,越來(lái)越多的運(yùn)用到在油畫創(chuàng)作中,這里面有很多原因,但其中最主要的原因源自于人們渴望表達(dá)自己的內(nèi)心,表達(dá)真實(shí)的自己,也表達(dá)對(duì)這個(gè)社會(huì)的思考。當(dāng)然新疆表現(xiàn)主義繪畫的發(fā)展還處于剛起步的階段,雖說(shuō)有表現(xiàn)主義繪畫的因素,但與當(dāng)代西方表現(xiàn)主義繪畫還有很大的差距,這個(gè)差距并不是單單指的是技藝上的高低,更多的是繪畫觀念。
[Abstract]:The research on the series of paintings in Gaotai dwelling is a paper based on the practice of painting, and the discovery of this painting theme comes from the investigation of art. A series of painting experiments have been carried out on the laminated and flat artistic beauty found in the artistic investigation. This series of experimental paintings is mainly divided into three small series, the three small series are divided into the "overlapping section series", "yellow series", "Mosque series." The works of the overlapping surface series mainly study the contrast and fusion between the flat segmentation of the picture and the color of the color block. The yellow series strengthens the use of the pen on the basis of paying attention to the plane of the picture, and the church series is a kind of training for composition and brush strokes. The study and practice of the flat form in the expressionist painting are the main works of the Gaotai residence series, and of course, the influence of the Xinjiang painting predecessors is also indispensable. The form of painting can not be separated from the idea behind painting, that is, the concept of painting, so what is the idea of expressionism painting? Expressionist painters believe that art should express the "internal information" of human beings, as well as people's own inner feelings and thoughts, and that art should change social reality directly through its own expression, rather than reproducing reality by depicting the objective reality. To express the purpose of education and admonition. They emphasize the strength of human feelings and subjective nature so as to express the struggle and struggle for the objective world, and thus to establish a new relationship between art and life. They also emphasize the role of spiritual aesthetic, and think that art can not only express the visual and imitative objective reality, but also the inner and invisible spiritual world. In combination with oil painting, the research on the subject matter of Gaotai folk house painting is connected with the research on the segmentation of the picture plane. The big layout of the picture is the composition of the picture, and the composition depends on the segmentation of the shape and color in the picture. From the characteristics of this painting theme, Gaotai residence is suitable for the flat segmentation of the picture. The study of this series of paintings draws nourishment from the artistic thought and technique of Expressionism painting. The language of expressionist painting is more and more used in contemporary painting in China and the West, especially in contemporary painting in Xinjiang. There are many reasons for this. But the main reason is that people are eager to express themselves, to express their true self, and to express their thoughts about the society. Of course, the development of Expressionist painting in Xinjiang is still in its infancy. Although there are elements of Expressionist painting, there is still a big gap with contemporary Western Expressionist painting. This gap does not refer solely to the level of skill. More is the concept of painting.
【學(xué)位授予單位】：新疆師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J213

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