【摘要】：每種藝術(shù)類型的存在都有著特殊的歷史背景和現(xiàn)實(shí)基礎(chǔ)，就像每個(gè)民族一樣都有它們特殊的語(yǔ)言文字和精神面貌。在世界文化的歷史長(zhǎng)河中，中國(guó)的抽象繪畫(huà)在西方抽象主義思潮的滋養(yǎng)和影響之下，借助抽象形式的外在特征來(lái)傳達(dá)自己的審美理想。本文在研究過(guò)程中，不僅借鑒國(guó)內(nèi)外已有的研究成果，而且通過(guò)與西方抽象主義的發(fā)展?fàn)顩r進(jìn)行縱向和橫向的綜合比較，對(duì)中國(guó)抽象繪畫(huà)的發(fā)展做了簡(jiǎn)明的闡述。在研究中著重描述抽象元素在現(xiàn)代中國(guó)畫(huà)藝術(shù)語(yǔ)言中的演變與發(fā)展，展現(xiàn)了中國(guó)抽象繪畫(huà)在藝術(shù)發(fā)展過(guò)程中被認(rèn)可和被普及的過(guò)程。 20世紀(jì)的中國(guó)現(xiàn)代藝術(shù)運(yùn)動(dòng)中，抽象藝術(shù)作為主力軍一直在悄無(wú)聲息地持續(xù)發(fā)展著，雖然抽象繪畫(huà)本身存在著很多的爭(zhēng)議性，有積極的方面也有消極的方面，這也導(dǎo)致了學(xué)術(shù)界在其研究過(guò)程中的疏忽和不準(zhǔn)確性。本文從抽象元素的起源探究開(kāi)始，通過(guò)對(duì)中西方抽象文化的比較，結(jié)合多位重要抽象藝術(shù)家的藝術(shù)實(shí)踐，在與抽象理論相結(jié)合的同時(shí)，分析整理出中國(guó)現(xiàn)當(dāng)代抽象藝術(shù)發(fā)展歷程中可借鑒的部分，，在進(jìn)行深入研究的同時(shí)從而拉近大眾與抽象繪畫(huà)的距離，我們也能創(chuàng)作出更好的抽象繪畫(huà)作品。
[Abstract]:The existence of each kind of art has its special historical background and realistic foundation, just like every nation, it has its special language and spirit. In the long history of world culture, Chinese abstract painting is nurtured and influenced by western abstract ideology, and conveys its aesthetic ideal with the help of the external characteristics of abstract form. In the course of the research, this paper not only draws lessons from the existing research results at home and abroad, but also makes a concise exposition on the development of Chinese abstract painting through a comprehensive comparison with the development of western abstractism. The study focuses on the evolution and development of abstract elements in the art language of modern Chinese painting, showing the process of Chinese abstract painting being recognized and popularized in the process of art development. In the 20th century Chinese modern art movement, abstract art as the main force has been quietly and continuously developing, although abstract painting itself has a lot of controversy, there are both positive and negative aspects. This also led to the academic neglect and inaccuracy in its research process. This paper begins with the exploration of the origin of abstract elements, through the comparison between Chinese and Western abstract culture, and combines the artistic practice of many important abstract artists, while combining with abstract theory. By analyzing and sorting out the parts that can be used for reference in the development of Chinese modern and contemporary abstract art, we can draw closer the distance between the public and the abstract painting, and we can also create better abstract painting works.
【學(xué)位授予單位】：山東理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J212

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