【摘要】：生活是藝術(shù)創(chuàng)作的源泉,即藝術(shù)創(chuàng)作離不開有感觸的現(xiàn)實生活,現(xiàn)實生活又是建立在一定的地理區(qū)域之上,特定的地理區(qū)域具有特定的自然風(fēng)貌和人文風(fēng)貌。因此,地域性的不同特質(zhì)影響著藝術(shù)創(chuàng)作,是藝術(shù)家藝術(shù)創(chuàng)作的基礎(chǔ)與靈感來源,更是藝術(shù)家開掘藝術(shù)原創(chuàng)性的重要基礎(chǔ)。在全球化及多元文化共生的時代背景之下,探討在油畫創(chuàng)作中如何形成獨特的藝術(shù)風(fēng)格,體現(xiàn)地域性美學(xué)價值是一個值得深入研究與實踐的課題。同時,任何一位畫家都會受到其所在地域文化潛移默化的影響,在創(chuàng)作時,畫家固有的文化修養(yǎng)、審美取向、民族性格勢必會滲入到作品之中。從這個意義上講,我國油畫的民族化、本土化是油畫自然發(fā)展的一個過程。在當代藝術(shù)語境下,廣西油畫家很好的抓住了這一機遇,尤其是在油畫風(fēng)景上,實現(xiàn)了廣西地域性資源新的美學(xué)品質(zhì)的煥發(fā),涌現(xiàn)出了一批優(yōu)秀的風(fēng)景油畫家和繪畫作品。 近年來,油畫地域性研究成為學(xué)術(shù)界研究的熱點,學(xué)者們從地域自然因素與人文因素的角度來分析油畫作品。其中部分學(xué)者根據(jù)所在區(qū)域油畫作品的內(nèi)容、形式等特點,偏重其地域文化研究,而油畫風(fēng)景的地域性特征相對明顯,學(xué)者們也更著重突出了南北方油畫風(fēng)景的地域性對比研究。相比之下,學(xué)術(shù)界對廣西油畫的關(guān)注與研究則比較少,僅有少數(shù)文章對廣西油畫的現(xiàn)狀、發(fā)展歷程、藝術(shù)風(fēng)格進行探討。 本文在我國油畫民族化、本土化、多元化發(fā)展的現(xiàn)實背景之下,以廣西地域性特征為切入點,對當代廣西油畫風(fēng)景創(chuàng)作的地域性進行研究。首先,本文介紹了研究的背景與意義,回顧了有關(guān)油畫地域性研究成果與廣西油畫創(chuàng)作研究現(xiàn)狀。其次,系統(tǒng)地闡述了廣西地域性自然地貌特征、文化特征。并在此基礎(chǔ)上,先論述了廣西油畫風(fēng)景的發(fā)展現(xiàn)狀、藝術(shù)特征,然后再從繪畫作品中的視覺特征、內(nèi)核兩方面,分析當代廣西油畫風(fēng)景創(chuàng)作的地域性表現(xiàn),選擇具有代表性的畫家及其作品進行舉例說明,同時結(jié)合自己的實踐和實地考察。最后,闡述廣西油畫風(fēng)景地域性研究的啟示,并對廣西油畫風(fēng)景的發(fā)展作出思考。 本文從地域性角度分析當代廣西油畫風(fēng)景創(chuàng)作,在現(xiàn)代藝術(shù)語境下,當藝術(shù)價值的取向上,對廣西油畫風(fēng)景創(chuàng)作進行了初步的探索。以廣西油畫風(fēng)景為個案研究,分析問題、思考問題,文章最后對論文的后續(xù)發(fā)展進行了探討。
[Abstract]:Life is the source of art creation, that is, art creation can not do without the touch of real life, real life is built on a certain geographical area, a specific geographical region has a specific natural style and humanistic style. Therefore, different regional characteristics affect artistic creation, are the basis and inspiration source of artists' artistic creation, and are also the important basis for artists to explore the originality of art. Under the background of globalization and multiculturalism, it is worth studying and practicing how to form the unique artistic style and embody the regional aesthetic value in the oil painting creation. At the same time, any painter will be influenced by the local culture. In the process of creation, the artist's inherent cultural accomplishment, aesthetic orientation and national character will inevitably infiltrate into the works. In this sense, the nationalization and localization of Chinese oil painting is a process of natural development of oil painting. In the context of contemporary art, Guangxi oil painters have seized this opportunity very well, especially in the oil painting landscape, realized the new aesthetic quality of regional resources of Guangxi, emerged a number of excellent landscape oil painters and painting works. In recent years, regional oil painting research has become a hot spot in academia. Scholars analyze oil paintings from the perspective of regional natural factors and humanistic factors. According to the content, form and other characteristics of the oil painting works in the region, some scholars attach importance to the study of their regional culture, but the regional characteristics of the oil painting scenery are relatively obvious. Scholars also put more emphasis on the regional comparative study of oil paintings in the north and south. By contrast, the academic circles pay less attention and research to Guangxi oil painting, only a few articles discuss the present situation, development course and artistic style of Guangxi oil painting. Under the realistic background of nationalization, localization and diversification of oil painting in our country, this paper studies the regionality of contemporary Guangxi oil painting landscape creation with the regional characteristics of Guangxi as the breakthrough point. First of all, this paper introduces the background and significance of the study, reviews the regional oil painting research results and Guangxi oil painting research status. Secondly, the regional natural geomorphological features and cultural characteristics of Guangxi are systematically expounded. On this basis, this paper first discusses the development of Guangxi oil painting landscape, artistic characteristics, and then from the visual characteristics of painting works, the core of two aspects, analysis of contemporary Guangxi oil painting landscape creation regional performance, Select representative artists and their works to illustrate, while combining their own practice and field visits. Finally, the paper expounds the inspiration of the regional study of Guangxi oil painting landscape, and gives some thoughts on the development of Guangxi oil painting landscape. This paper analyzes the contemporary Guangxi oil painting landscape creation from the regional point of view. In the context of modern art, when the artistic value orientation, Guangxi oil painting landscape creation has carried on the preliminary exploration. Guangxi oil painting landscape as a case study, analysis of problems, thinking problems, the paper finally discussed the follow-up development of the paper.
【學(xué)位授予單位】：廣西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J213

【參考文獻】

中國期刊全文數(shù)據(jù)庫 前10條

1 成聯(lián)方;;從價值論原則看藝術(shù)作品的價值所在[J];重慶工學(xué)院學(xué)報(社會科學(xué)版);2009年04期

2 張晶;;從張冬峰的藝術(shù)特點看中國風(fēng)景油畫的“中國情結(jié)”[J];呼倫貝爾學(xué)院學(xué)報;2007年02期

3 黃宗賢;;新中國西部民族題材美術(shù)創(chuàng)作掃描[J];美術(shù);2010年01期

4 宛俊勇;;淺析中國風(fēng)景畫之美[J];美術(shù)大觀;2007年04期

5 納建寧;;從近代油畫名作中理解油畫創(chuàng)作的民族性[J];美與時代(中);2011年04期

6 徐沛君;打造“漓江畫派”——“漓江畫派”理論研討會紀要[J];美術(shù)觀察;2003年07期

7 劉新;風(fēng)景,對廣西美術(shù)的當下與未來有多重要——略談“漓江畫派”的生成與前途[J];南方文壇;2003年06期

8 帥民風(fēng);簡述廣西近現(xiàn)代美術(shù)發(fā)展——兼述“漓江畫派”生成及其發(fā)展階段的特色[J];南方文壇;2005年01期

9 謝麟;;廣西現(xiàn)當代美術(shù)的發(fā)展[J];南方文壇;2009年05期

10 張強;;從全球一體化看中國油畫的民族化和本土化[J];內(nèi)江師范學(xué)院學(xué)報;2008年05期

，

本文編號：2401655