【摘要】：任何文化形式天生就具有開放和流動的性質(zhì),發(fā)源于西方的油畫引入中國已經(jīng)有了一個世紀的歷程,作為一種成熟的西方繪畫語言,在本土文化、哲學(xué)、政治等方面影響下,適應(yīng)了中國的時代特色,逐漸為中華民族所接受和包容。在油畫中國化的進程中,不難發(fā)現(xiàn)平面化傾向作為繪畫語言形式之一,普遍運用于中國油畫的創(chuàng)作實踐過程中。相比起制作復(fù)雜的傳統(tǒng)寫實性油畫,平面化傾向的表達手法更具有主觀性,可以更快速地表達出畫家的真情實感,是“外師造化,中得心源”的體現(xiàn),能很好地適應(yīng)快節(jié)奏的時代。并且,平面化具有一定的符號化特征,并蘊含著豐富的想象空間,簡單快捷的制作方法深受畫家和普通大眾的廣泛喜愛。不僅是畫家自身的選擇,也是時代和市場審美的選擇。油畫中國化中的平面化傾向是油畫家們主動融合中西的藝術(shù)實踐,本文針對這一不可忽視的重要藝術(shù)現(xiàn)象作為研究對象,首先,筆者對油畫中國化進程中的平面化傾向的發(fā)展脈絡(luò)進行梳理,回顧了融匯中西的實踐,分析其形成的原因。接著,作為本文的主要研究的內(nèi)容,分析了在民族傳統(tǒng)藝術(shù)與時代審美取向的影響下油畫中國化進程中的平面化風格傾向及其具體表現(xiàn),筆者列舉了在此方向?qū)嵺`發(fā)展的中國油畫累積的成果和經(jīng)驗及理論。然后,通過研究前人的具體實踐,并結(jié)合藝術(shù)理論層面的研究和筆者的創(chuàng)作實踐,將理論的探討與創(chuàng)作的具體實踐相結(jié)合,從作品內(nèi)容和表現(xiàn)語言兩方面對筆者在此方面的具體實踐探索進行分析和反思。最后,通過以上對油畫中國化中的平面化傾向的分析,體會中國油畫的魅力與平面化傾向的可行性,展望中國油畫未來的發(fā)展。本文認為,任何一種藝術(shù)形式的出現(xiàn)都是建立在一定的文化基礎(chǔ)之上的,油畫藝術(shù)在中國的土地上生根發(fā)芽,作為中國的藝術(shù)家,在創(chuàng)作中或多或少都會受到傳統(tǒng)藝術(shù)的影響。油畫中國化中的平面化傾向是一種積極的探索實踐,注重西方繪畫語言與中國文化元素的結(jié)合,不僅對更好地創(chuàng)造出具有中華民族特色的油畫語言有積極的意義,也對中國油畫融入世界具有重要的推動作用。同時,分析研究油畫中國化當中的平面化趨向,對于筆者自身來說,賦予創(chuàng)作的油畫作品以真情實感,以期更好地進行具體的創(chuàng)作實踐。
[Abstract]:Any form of culture is naturally open and mobile. It has been a century since oil paintings originated from the West were introduced into China. As a mature language of Western painting, under the influence of local culture, philosophy, politics, and so on, Adapted to China's characteristics of the times, gradually accepted and tolerated by the Chinese nation. In the process of Chinese oil painting, it is not difficult to find that flatness is one of the forms of painting language, which is widely used in the process of Chinese oil painting creation. Compared with the production of complex traditional realistic oil paintings, the expression of flat tendency is more subjective and can express the painters' true feelings more quickly. Be able to adapt well to the fast-paced times. In addition, planarization has some symbolic features, and contains rich imagination space, simple and fast production methods are widely loved by painters and the general public. Is not only the painter's own choice, but also the time and the market aesthetic choice. The planarization tendency of oil painting in China is the painters' active integration of Chinese and Western artistic practice. This paper aims at this important art phenomenon which can not be ignored as the research object, first of all, The author combs the development of flat tendency in the process of Chinese oil painting, reviews the practice of blending Chinese and western countries, and analyzes the reasons for its formation. Then, as the main research content of this paper, it analyzes the flat style tendency and its concrete performance in the process of Chinese oil painting under the influence of the traditional national art and the aesthetic orientation of the times. The author enumerates the accumulated achievements, experiences and theories of Chinese oil painting in this direction. Then, by studying the concrete practice of predecessors, combining the research of artistic theory and the author's creative practice, the author combines the theoretical discussion with the concrete practice of creation. This paper analyzes and reflects on the author's concrete practice and exploration in this aspect from the aspects of the content of the work and the language of expression. Finally, through the above analysis of the planarization tendency of Chinese oil painting, we can understand the feasibility of Chinese oil painting charm and planarization tendency, and look forward to the future development of Chinese oil painting. This paper holds that the emergence of any kind of art form is based on a certain cultural foundation, the oil painting art takes root on the land of China, as a Chinese artist, it is more or less influenced by the traditional art in the creation. The flattening tendency of Chinese oil painting is a positive exploration practice. Paying attention to the combination of western painting language and Chinese cultural elements is not only of positive significance to the creation of oil painting language with Chinese characteristics. It also plays an important role in promoting the integration of Chinese oil painting into the world. At the same time, the author analyzes the trend of flatness of oil painting in China, for the author, gives the oil painting the true feeling, in order to better carry on the concrete creation practice.
【學(xué)位授予單位】：廣東工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J213

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本文編號：2414992