【摘要】：圖式期是兒童繪畫的黃金時(shí)期，這個(gè)時(shí)期的繪畫無(wú)論是在情感的表達(dá)還是藝術(shù)的表現(xiàn)上都達(dá)到了很高的水平。圖式期兒童畫以其夸張的造型、對(duì)比強(qiáng)烈的色彩、隨心所欲的構(gòu)圖、超乎現(xiàn)實(shí)的想象力為主�，F(xiàn)代油畫也以其獨(dú)特的造型、絢麗的色彩、個(gè)性化的表達(dá)見長(zhǎng)，彼此有著相得益彰的關(guān)聯(lián)性，，如果辯證地將二者巧妙的結(jié)合，會(huì)進(jìn)一步挖掘藝術(shù)理論的深度；目前，大部分研究?jī)和嫷膶W(xué)者通常是探究所有年齡階段的兒童畫，而本論文研究的對(duì)象主要是針對(duì)4—9歲兒童的繪畫，這個(gè)時(shí)期進(jìn)入到繪畫的圖式期階段，圖式期是任何時(shí)期的兒童畫所無(wú)法比擬的；當(dāng)前國(guó)內(nèi)外有關(guān)圖式期兒童畫與現(xiàn)代油畫相聯(lián)系的理論甚少，該研究豐富了圖式期兒童畫與油畫相結(jié)合的空白領(lǐng)域，利于建立起較完整的理論體系。圖式期兒童畫與人類原始的情感、成人存留童年的記憶、集體的無(wú)意識(shí)有著千絲萬(wàn)縷的聯(lián)系，也拓展了心理學(xué)領(lǐng)域的研究范圍，為今后該領(lǐng)域的研究者提供了可參考的資料。 現(xiàn)代油畫通常指的是20世紀(jì)初的油畫作品，我們可以發(fā)現(xiàn)這個(gè)時(shí)期的繪畫流派紛繁復(fù)雜，立體派、野獸派、表現(xiàn)派、抽象派等大量出現(xiàn)，大多數(shù)藝術(shù)家力求表現(xiàn)自己的風(fēng)格，更關(guān)注自己的情感，已經(jīng)不是再用簡(jiǎn)單的寫實(shí)手法進(jìn)行創(chuàng)作，并產(chǎn)生了很多聞名于世的繪畫作品。像畢加索、保羅·克利、米羅、讓·杜菲爾、康定斯基、夏加爾等，都是這個(gè)時(shí)期的代表性人物，從他們的作品中能看到孩子似的天真、浪漫。許多藝術(shù)大師都不同程度地吸收與借鑒了圖式期兒童畫的藝術(shù)特點(diǎn)。 本文第二章對(duì)圖式期兒童畫進(jìn)行了大量的比對(duì)研究，觀察其色彩、構(gòu)圖、造型等要素，并對(duì)兒童繪畫時(shí)的心境、情緒、情感等特征進(jìn)行綜合分析。在第三章中提到了大師們不僅在表現(xiàn)手法上借鑒了圖式期兒童畫的特點(diǎn)，而且在情感表達(dá)上更貼近圖式期兒童畫，藝術(shù)家們善于觀察和思考兒童畫并取其精華運(yùn)用到油畫創(chuàng)作中。本論文最后一章介紹了圖式期兒童畫的特點(diǎn)對(duì)自身的創(chuàng)作啟發(fā)，并應(yīng)用到油畫創(chuàng)作中，這樣符合藝術(shù)的創(chuàng)作性、實(shí)踐性，用獨(dú)特的繪畫語(yǔ)言詮釋藝術(shù)的真諦，創(chuàng)作出返璞歸真、風(fēng)格清新、別具特色的藝術(shù)品。圖式期兒童畫特點(diǎn)的運(yùn)用不僅在繪畫領(lǐng)域豐富的延續(xù)，在日益發(fā)達(dá)的媒體領(lǐng)域也依然需要，對(duì)于這種現(xiàn)象和問(wèn)題的出現(xiàn)顯然是討論藝術(shù)創(chuàng)作與藝術(shù)應(yīng)用的重要議題。
[Abstract]:Schema period is the golden period of children's painting, the painting of this period has reached a very high level in both the expression of emotion and the performance of art. Schematic children's painting with its hyperbole, contrast strong color, arbitrary composition, surreal imagination. Modern oil painting also with its unique shape, gorgeous color, personalized expression, each other has a mutually reinforcing relationship, if the dialectical combination of the two ingenious, will further explore the depth of art theory; At present, most of the scholars who study children's paintings usually explore children's paintings of all ages, but the object of this paper is mainly for children aged 4-9 years old, this period has entered the stage of drawing schemata. The schematic period is unparalleled by children's paintings at any time. At present, there are few theories about the relation between schematic children's painting and modern oil painting at home and abroad. This study enriches the blank field of the combination of schematic children's painting and oil painting, and is conducive to the establishment of a more complete theoretical system. The schematic children's painting is closely related to the primitive emotion of human beings, the memory of childhood and the collective unconsciousness. It also expands the research scope of the field of psychology, and provides reference materials for the researchers in this field in the future. Modern oil painting usually refers to the oil paintings of the early 20th century. We can find that the painting schools of this period are complicated, cubist, wild animal, expressionist, abstract, and so on. Most artists strive to express their style. Pay more attention to their emotions, no longer use a simple realistic way to create, and produced a lot of world-famous paintings. Picasso, Paul Klee, Milo, Jean Duffel, Kandinsky, Chagall, and so on, are representative figures of this period, who can see childlike innocence and romance in their works. Many art masters absorb and draw lessons from the artistic characteristics of schematic children's paintings to varying degrees. In the second chapter, a large number of comparative studies on schematic children's paintings are carried out, observing the elements such as color, composition, modeling and so on, and synthetically analyzing the characteristics of mood, emotion and emotion in children's painting. In the third chapter, it is mentioned that the masters not only draw lessons from the characteristics of schematic children's paintings, but also draw closer to schematic children's paintings in terms of emotional expression. Artists are good at observing and thinking about children's paintings and applying their essence to oil painting. The last chapter of this paper introduces the characteristics of schematic children's paintings, and applies them to oil painting, which accords with the creative and practical nature of art, interprets the true meaning of art with unique painting language, and returns to the nature of nature. Fresh style, unique works of art. The application of schematic children's painting features is not only a rich continuation in the field of painting, but also needs in the increasingly developed field of media. The appearance of this phenomenon and problems is obviously an important topic to discuss the artistic creation and application.
【學(xué)位授予單位】：沈陽(yáng)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

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相關(guān)期刊論文 前1條

1 王振德;;現(xiàn)代藝術(shù)家向兒童藝術(shù)借鑒的形與法[J];藝術(shù)百家;2006年06期

本文編號(hào)：2398336