論油畫同其他繪畫形式的跨界與融合
發(fā)布時(shí)間：2019-01-20 16:45
【摘要】：“跨界”(Crossover)，這一說法在最近幾年出現(xiàn)的頻率非常之高，不同藝術(shù)領(lǐng)域和藝術(shù)形式之間的相互借鑒和相互滲透越來越密切和普遍。當(dāng)今的藝術(shù)不再是單純的一個(gè)形式，它不斷地向更多領(lǐng)域延伸、拓展和重組�！翱缃缡撬枷氲暮粑�，藝術(shù)觀念轉(zhuǎn)換的同時(shí)，藝術(shù)市場(chǎng)的導(dǎo)向也催化了藝術(shù)家的個(gè)人選擇，這種觀念和形式的結(jié)合打破了原有的藝術(shù)界限，同時(shí)也是藝術(shù)家不斷發(fā)現(xiàn)自我、挑戰(zhàn)自我、提升作品價(jià)值的過程。 本文以跨界為切入點(diǎn)，對(duì)現(xiàn)代藝術(shù)領(lǐng)域的跨界現(xiàn)象進(jìn)行整理和分析，探索其發(fā)展的歷程，分析跨界藝術(shù)作品的特點(diǎn)，并綜合歸納出油畫與版畫，油畫與國畫之間的跨界與融合。本人分四章來論述： 首先，第一章從國際和國內(nèi)兩個(gè)方面闡述當(dāng)代藝術(shù)中普遍存在的跨界現(xiàn)象，并舉例說明這些跨想現(xiàn)象由來已久，是社會(huì)變革和經(jīng)濟(jì)發(fā)展的產(chǎn)物，正如清初石濤所說“筆墨當(dāng)隨時(shí)代”。由這些分析得出結(jié)論，在藝術(shù)市場(chǎng)的作用下跨界已經(jīng)成為一種主流趨勢(shì)，并且這些跨界現(xiàn)象有其存在的合理性與必然性。 第二章和第三章作為本文重點(diǎn)，以油畫與版畫，油畫與國畫之間的跨界為重點(diǎn)加以展開，舉例分析這種跨界現(xiàn)象出現(xiàn)的原因及產(chǎn)生的積極作用。版畫和國畫的語言及表現(xiàn)手法與油畫相互融合與聯(lián)動(dòng)，使油畫的表達(dá)更加多元化，提升了大眾審美與視覺感受，同時(shí)也要求藝術(shù)家要打破因循守舊，以率真敏銳的眼光看待事物的發(fā)展從而進(jìn)行藝術(shù)創(chuàng)作。 第四章分析油畫跨界以后所產(chǎn)生的積極價(jià)值和存在的負(fù)面因素，，從學(xué)術(shù)的角度、市場(chǎng)的角度、藝術(shù)家自身觀念的角度，辯證的分析跨界的利弊。不成熟的跨界無益于藝術(shù)的發(fā)展，藝術(shù)的目的也不是逐利，只有這樣才能使藝術(shù)道路走的更遠(yuǎn)，才能促進(jìn)藝術(shù)市場(chǎng)的良性發(fā)展。 最后結(jié)語點(diǎn)明本篇論文的結(jié)論：跨界的目的是藝術(shù)的無界與融合。這種融合不是簡(jiǎn)單的疊加，而是源于更深層次的藝術(shù)創(chuàng)造，只有這樣才能打破這些藝術(shù)本身形式的界限，達(dá)到無界與融合的藝術(shù)境界。
[Abstract]:The term "cross-border" (Crossover), appears very frequently in recent years, and the mutual reference and infiltration between different art fields and art forms are becoming more and more close and common. Today's art is no longer a simple form, it continues to extend, expand and reorganize into more fields. "Trans-boundary is the breath of thought", while the artistic concept changes, the artistic market orientation also catalyzes the artist's individual choice, this kind of concept and the form union has broken the original artistic boundary, also is the artist unceasingly discovers oneself, The process of challenging oneself and enhancing the value of the work. In this paper, the cross-border phenomenon in the field of modern art is sorted out and analyzed, the development course is explored, the characteristics of the cross-border works of art are analyzed, and the cross boundary and fusion between oil painting and printmaking, oil painting and traditional Chinese painting are summed up synthetically. I am divided into four chapters: first, the first chapter from the international and domestic aspects of the universal existence of cross-border phenomena in contemporary art, and examples of these cross-thinking phenomenon has a long history, is the product of social change and economic development. As Shi Tao said in the early Qing Dynasty, "pen and ink should follow the times." From these analyses, it is concluded that the cross-border phenomenon has become a mainstream trend under the influence of the art market, and the existence of these cross-border phenomena has its rationality and inevitability. The second and third chapters as the focus of this paper, oil painting and printmaking, oil painting and traditional Chinese painting as the focus of cross-border development, with examples to analyze the reasons for the emergence of this cross-border phenomenon and its positive role. The language and expression of printmaking and traditional Chinese painting combined with oil painting, which made the expression of oil painting more diversified and enhanced the aesthetic and visual feelings of the public. At the same time, artists were required to break the conventionality. To look at the development of things with a frank and sharp eye, and thus to create art. The fourth chapter analyzes the positive value and negative factors of oil painting after crossing the border, from the academic point of view, the market perspective, the artist's own concept angle, dialectical analysis of the advantages and disadvantages of cross-border. Immature cross-border is not conducive to the development of art, the purpose of art is not profit, only in this way can the art road go further, can promote the benign development of the art market. Finally, the conclusion of this paper is pointed out: the purpose of cross-boundary is the unbounded and fusion of art. This fusion is not a simple superposition, but originates from deeper artistic creation. Only in this way can we break the boundary of these art forms and reach the artistic realm of boundlessness and fusion.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J213
本文編號(hào)：2412203
[Abstract]:The term "cross-border" (Crossover), appears very frequently in recent years, and the mutual reference and infiltration between different art fields and art forms are becoming more and more close and common. Today's art is no longer a simple form, it continues to extend, expand and reorganize into more fields. "Trans-boundary is the breath of thought", while the artistic concept changes, the artistic market orientation also catalyzes the artist's individual choice, this kind of concept and the form union has broken the original artistic boundary, also is the artist unceasingly discovers oneself, The process of challenging oneself and enhancing the value of the work. In this paper, the cross-border phenomenon in the field of modern art is sorted out and analyzed, the development course is explored, the characteristics of the cross-border works of art are analyzed, and the cross boundary and fusion between oil painting and printmaking, oil painting and traditional Chinese painting are summed up synthetically. I am divided into four chapters: first, the first chapter from the international and domestic aspects of the universal existence of cross-border phenomena in contemporary art, and examples of these cross-thinking phenomenon has a long history, is the product of social change and economic development. As Shi Tao said in the early Qing Dynasty, "pen and ink should follow the times." From these analyses, it is concluded that the cross-border phenomenon has become a mainstream trend under the influence of the art market, and the existence of these cross-border phenomena has its rationality and inevitability. The second and third chapters as the focus of this paper, oil painting and printmaking, oil painting and traditional Chinese painting as the focus of cross-border development, with examples to analyze the reasons for the emergence of this cross-border phenomenon and its positive role. The language and expression of printmaking and traditional Chinese painting combined with oil painting, which made the expression of oil painting more diversified and enhanced the aesthetic and visual feelings of the public. At the same time, artists were required to break the conventionality. To look at the development of things with a frank and sharp eye, and thus to create art. The fourth chapter analyzes the positive value and negative factors of oil painting after crossing the border, from the academic point of view, the market perspective, the artist's own concept angle, dialectical analysis of the advantages and disadvantages of cross-border. Immature cross-border is not conducive to the development of art, the purpose of art is not profit, only in this way can the art road go further, can promote the benign development of the art market. Finally, the conclusion of this paper is pointed out: the purpose of cross-boundary is the unbounded and fusion of art. This fusion is not a simple superposition, but originates from deeper artistic creation. Only in this way can we break the boundary of these art forms and reach the artistic realm of boundlessness and fusion.
【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J213
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 凌繼堯;;經(jīng)濟(jì)審美化研究視角下的創(chuàng)意與設(shè)計(jì)[J];創(chuàng)意與設(shè)計(jì);2012年02期
2 錢華敏;;中國意向油畫和傳統(tǒng)國畫的融合與超越[J];電影評(píng)介;2012年03期
3 張春霞;;作為版畫家的蒙克[J];大眾文藝(理論);2008年08期
4 張群 ,孟祿丁;新時(shí)代的啟示——《在新時(shí)代》創(chuàng)作談[J];美術(shù);1985年07期
5 劉悅笛;藝海文摘[J];美術(shù);2003年01期
6 張偉;;藝術(shù)跨界與藝術(shù)觀念的變遷[J];藝術(shù)評(píng)論;2012年01期
7 李雷;;藝術(shù)跨界正當(dāng)時(shí)[J];藝術(shù)評(píng)論;2012年01期
8 李芳;;流行文化對(duì)高校美學(xué)教育的影響[J];知識(shí)經(jīng)濟(jì);2013年10期
9 蔣滌非;;跨界——有“容”乃大[J];中外建筑;2012年01期
10 張?chǎng)┑?;再論油畫藝術(shù)的中國化[J];新美術(shù);2013年07期
本文編號(hào)：2412203
本文鏈接：http://sikaile.net/wenyilunwen/huihuayishu/2412203.html
