發(fā)布時(shí)間：2018-11-11 10:22

【摘要】：靳尚誼曾經(jīng)說(shuō)過(guò)藝術(shù)是需要傳承的,而科技是需要?jiǎng)?chuàng)新的。就是說(shuō)我們繪畫(huà)藝術(shù)要以傳承為主,傳承的意思就是繼承,繼承就要我們像古代學(xué)習(xí);而現(xiàn)代科技要以創(chuàng)新為主,因?yàn)闆](méi)有新科技那就沒(méi)有社會(huì)的發(fā)展。但從藝術(shù)的角度來(lái)說(shuō),我們還是要以傳承為主,而學(xué)習(xí)古典藝術(shù),就是以傳承古典精神為主,繼而對(duì)現(xiàn)代繪畫(huà)的發(fā)展有更深刻的現(xiàn)實(shí)意義。這也是我這篇論文的中心思想所在。在傳承藝術(shù)當(dāng)中我們要重提古典精神在現(xiàn)代的作用和意義,這便是我為什么要探析古典精神的實(shí)質(zhì)內(nèi)涵,從而更貼切地觸入到現(xiàn)代繪畫(huà)的繪畫(huà)創(chuàng)作中,創(chuàng)作出具有實(shí)現(xiàn)主義意味的給畫(huà)便是本文的目的。本文分析古典主義精神的產(chǎn)生、了解古典主義精神和分析古典主義精神的在藝術(shù)發(fā)展歷史中不同階段的體現(xiàn),結(jié)合其發(fā)展和影響,以及和社會(huì)、種族、國(guó)家的關(guān)聯(lián),嚴(yán)謹(jǐn)?shù)靥轿龉诺淅L畫(huà)在不同時(shí)期、階段的技法和表現(xiàn)內(nèi)容的精神體現(xiàn),通過(guò)舉例和分析來(lái)展示油畫(huà)所傳達(dá)的古典精神,也是對(duì)傳統(tǒng)古典主義繪畫(huà)精神一次重溫。首先,從闡釋繪畫(huà)的古典精神,解析古典繪畫(huà)的精神實(shí)質(zhì)。從古希臘到19世紀(jì)法國(guó)美術(shù)的藝術(shù)歷史中,分析古典精神的體現(xiàn)和在各種風(fēng)格不同的繪畫(huà)中的弘揚(yáng)及體現(xiàn)現(xiàn)代古典精神的永恒性方面,研究繪畫(huà)在這方面的古典精神體現(xiàn)和特征性;并從藝術(shù)發(fā)展的不同時(shí)期分別受宗教影響,受戲劇影響,受文學(xué)的影響。繪畫(huà)的古典精神的體現(xiàn)方面,與其他的橫向的姊妹藝術(shù)之間作比較,探究其中的不同和特點(diǎn)是研究的重點(diǎn)其后,我對(duì)古典精神的重新認(rèn)識(shí),從為宗教服務(wù)而繪畫(huà)的中世紀(jì)藝術(shù),研判人們對(duì)上帝和宗教的崇尚精神的內(nèi)容實(shí)質(zhì),以及中世紀(jì)繪畫(huà)體現(xiàn)的平面性裝飾性的繪畫(huà)現(xiàn)象所體現(xiàn)的精神。從喬托的繪畫(huà)及精神表現(xiàn)(即有對(duì)宗教的崇尚又有現(xiàn)實(shí)生活當(dāng)中人物的表現(xiàn)),到文藝復(fù)興的繪畫(huà)里面,技法和古典精神的體現(xiàn),通過(guò)分析其發(fā)生的背景、時(shí)代與技巧、特點(diǎn),來(lái)體現(xiàn)古典的繪畫(huà)精神異曲同工。從論及拉斐爾的畫(huà)里面的圣靈、圣母和圣子人性化的精神。到后來(lái)慢慢出現(xiàn)的現(xiàn)實(shí)主義,到魯本斯、倫勃朗等完全世俗化的藝術(shù)家,他們不再以宗教為主了,表現(xiàn)得都是人文主義精神作系統(tǒng)分析。最后,主要通過(guò)談中國(guó)當(dāng)代的藝術(shù)發(fā)展的一些趨勢(shì)、現(xiàn)狀,通過(guò)舉例闡明古典主義繪畫(huà)精神對(duì)中國(guó)當(dāng)代一些畫(huà)家油畫(huà)的影響,來(lái)體現(xiàn)古典主義精神在現(xiàn)代藝術(shù)中的體現(xiàn)以及現(xiàn)實(shí)意義。
[Abstract]:Jin Shangyi once said that art needs to be passed on, and science and technology need to be innovated. That is to say, our painting art should be inherited primarily, inheritance means inheritance, inheritance requires us to study like ancient times; and modern science and technology should focus on innovation, because without new technology, there would be no social development. But from the artistic point of view, we still have to inherit the main, and learn classical art, is to inherit the classical spirit, and then for the development of modern painting has a more profound practical significance. This is the central idea of my thesis. In the process of inheriting art, we should mention again the role and significance of classical spirit in modern times. This is why I want to explore the essential connotation of classical spirit, so as to touch more closely into the painting creation of modern painting. The purpose of this paper is to create the painting with the sense of realization. This paper analyzes the emergence of the spirit of classicism, understands the spirit of classicism and analyzes the embodiment of the spirit of classicism in different stages of the history of art development, combining its development and influence, as well as its connection with society, race and country. It is also a reexamination of the spirit of the traditional classicism painting to rigorously analyze the spirit of the techniques and performance contents of the classical painting in different periods and to show the classical spirit conveyed by the oil painting through examples and analysis. First of all, from the interpretation of the classical spirit of painting, the spirit of the essence of classical painting. From ancient Greece to the art history of French art in the 19th century, this paper analyzes the embodiment of classical spirit and its promotion in various paintings of different styles and the immutability of modern classical spirit. To study the classical spirit and characteristics of painting in this respect; It is influenced by religion, drama and literature in different periods of artistic development. The embodiment of the classical spirit of painting is compared with other horizontal sister arts, and exploring the differences and characteristics among them is the focus of the study. After that, my new understanding of the classical spirit begins with the medieval art of painting for the service of religion. To study the essence of the spiritual worship of God and religion, and the spirit embodied in the decorative painting of the Middle Ages. From Joto's paintings and spiritual expressions (that is, the worship of religion and the performance of characters in real life) to the Renaissance paintings, techniques and the embodiment of classical spirit, through the analysis of the background, times and skills, characteristics, To reflect the spirit of classical painting the same work. The spirit of humanity of the Holy Spirit, the Virgin and the son in Raphael's paintings. To the later realism, to Rubens, Rembrandt and other completely secularized artists, they no longer focus on religion, they all show a systematic analysis of humanism. Finally, mainly through talking about some trends of contemporary Chinese art development, the present situation, through illustrating the influence of classicism painting spirit on the oil paintings of some contemporary Chinese painters, To reflect the spirit of classicism in the embodiment of modern art and practical significance.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 朱平;早期繪畫(huà)技法與油畫(huà)的發(fā)明[J];江蘇教育學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2004年05期

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本文編號(hào)：2324551