【摘要】：油畫(huà)作為一種外來(lái)文化的載體被傳入到中國(guó)，已走過(guò)了百余年的歷史。在這個(gè)漫長(zhǎng)的歲月里，經(jīng)受了中西文化激烈碰撞與沖突，也經(jīng)受了中國(guó)傳統(tǒng)文化與民族審美心理的整合。①發(fā)展至今，中國(guó)油畫(huà)已成為中國(guó)文化藝術(shù)的重要組成部分。本文主要研究的是1980年代以來(lái)中國(guó)油畫(huà)的當(dāng)代性藝術(shù)表達(dá)這一問(wèn)題，也就是中國(guó)當(dāng)代油畫(huà)從1980年代開(kāi)始萌芽，②到1990年代初步形成和確立，再到新世紀(jì)全面發(fā)展這一過(guò)程中，中國(guó)油畫(huà)所體現(xiàn)的當(dāng)代性表達(dá)所取得的成果、內(nèi)涵、特征、面臨的困境等問(wèn)題。 中國(guó)油畫(huà)的當(dāng)代性藝術(shù)表達(dá)作為中國(guó)當(dāng)代油畫(huà)藝術(shù)研究的重要內(nèi)容，近年來(lái)其隨著中國(guó)油畫(huà)民族化回歸的再次提起而備受關(guān)注，，但對(duì)其深入研究的成果并不多見(jiàn)，亟待進(jìn)行梳理和系統(tǒng)研究。從過(guò)去的歷史不難發(fā)現(xiàn)，世界會(huì)變得越來(lái)越開(kāi)放，中國(guó)的發(fā)展離不開(kāi)這個(gè)開(kāi)放的世界，世界的發(fā)展也離不開(kāi)中國(guó)。隨著中國(guó)改革開(kāi)放的不斷深入，尤其是進(jìn)入新世紀(jì)以后，全球經(jīng)濟(jì)一體化的形成，使世界文化也走向了一體化。機(jī)遇與挑戰(zhàn)并存是這一時(shí)期的主要特征，中國(guó)當(dāng)代油畫(huà)藝術(shù)如何在經(jīng)濟(jì)全球一體化的語(yǔ)境下謀求更大的發(fā)展，成為藝術(shù)領(lǐng)域研究重要的課題。 本文在前人研究的基礎(chǔ)上，意在通過(guò)美術(shù)史、藝術(shù)史、歷史學(xué)等多學(xué)科交叉研究的方法，立足于中國(guó)當(dāng)代油畫(huà)發(fā)展和研究現(xiàn)狀，針對(duì)何為“當(dāng)代性”表達(dá)、中國(guó)油畫(huà)的當(dāng)代性特征，以及中國(guó)當(dāng)代油畫(huà)發(fā)展面臨機(jī)遇和挑戰(zhàn)等問(wèn)題進(jìn)行深入而全面的探究。 中國(guó)油畫(huà)在中西融合的過(guò)程中，一直在追求自己獨(dú)特的表達(dá)方式。筆者認(rèn)為，對(duì)“中國(guó)油畫(huà)的當(dāng)代性藝術(shù)表達(dá)”這一選題系統(tǒng)、深入的研究，有力于早日實(shí)現(xiàn)這一訴求。藝術(shù)家只有扎根于中國(guó)五千年優(yōu)秀文化的肥沃土壤，大膽借鑒人類(lèi)的一切優(yōu)秀成果，與時(shí)俱進(jìn)，敢于創(chuàng)新，才能創(chuàng)作出具有當(dāng)代性和國(guó)際性，并富有中國(guó)特色的優(yōu)秀藝術(shù)作品。
[Abstract]:Oil painting, as a carrier of foreign culture, has been introduced to China for more than a hundred years. In this long period of time, it has experienced the fierce collision and conflict between Chinese and western cultures, and also withstood the integration of Chinese traditional culture and national aesthetic psychology. 1. Since its development, Chinese oil painting has become an important part of Chinese culture and art. This paper mainly studies the contemporary artistic expression of Chinese oil painting since the 1980s, that is, Chinese contemporary oil painting began to sprout in the 1980s, formed and established initially from 2 to 1990's, and then developed in an all-round way in the new century. The achievements, connotation, characteristics and difficulties of contemporary expression embodied in Chinese oil painting. The contemporary art expression of Chinese oil painting, as an important content of Chinese contemporary oil painting research, has attracted much attention in recent years with the return of nationalization of Chinese oil painting, but the achievements of its in-depth research are rare. There is an urgent need to sort out and systematically study. From the past history, it is not difficult to find that the world will become more and more open, China's development can not be separated from this open world, the world's development can not be separated from China. With the deepening of China's reform and opening-up, especially after entering the new century, the formation of global economic integration has led to the integration of world culture. The coexistence of opportunities and challenges is the main feature of this period. How to seek greater development of Chinese contemporary oil painting art in the context of global economic integration has become an important topic in the field of art research. On the basis of previous studies, this paper intends to use the methods of interdisciplinary research such as art history, history and so on, based on the development and research status of Chinese contemporary oil painting, and aims at the expression of "contemporary nature". The contemporary characteristics of Chinese oil painting, as well as the opportunities and challenges faced by the development of contemporary Chinese oil painting, are deeply and comprehensively explored. Chinese oil painting in the process of the integration of China and the West, has been pursuing their own unique way of expression. The author believes that the deep research on the topic selection system of Contemporary Art expression of Chinese Oil painting is effective in realizing this demand as soon as possible. Only by taking root in the fertile soil of China's five thousand years of excellent culture, using all the outstanding achievements of mankind boldly, keeping pace with the times and daring to innovate, can artists create outstanding works of art with contemporary and international characteristics and full of Chinese characteristics.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 范好陽(yáng);;對(duì)中國(guó)當(dāng)代油畫(huà)民族化的思考[J];邊疆經(jīng)濟(jì)與文化;2012年04期

2 杜曦云;;何為當(dāng)代性[J];雕塑;2008年04期

3 王軍;;初探21世紀(jì)中國(guó)油畫(huà)發(fā)展動(dòng)向[J];大眾文藝(理論);2008年08期

4 胡川;;中國(guó)當(dāng)代油畫(huà)語(yǔ)言的文化回歸[J];大眾文藝;2012年07期

5 王曉鷹;;關(guān)于“創(chuàng)新”、“當(dāng)代性”及“泛娛樂(lè)化”的思考[J];福建藝術(shù);2009年05期

6 巨潮;;淺論藝術(shù)品投資與藝術(shù)市場(chǎng)[J];甘肅社會(huì)科學(xué);2006年03期

7 劉翔宇;;回歸的探索——關(guān)于中國(guó)當(dāng)代藝術(shù)發(fā)展的反思[J];大眾文藝;2011年22期

8 蒲鴻;;何為當(dāng)代性?——談當(dāng)代藝術(shù)創(chuàng)作中的認(rèn)識(shí)誤區(qū)[J];雕塑;2010年03期

9 張立芳;;油畫(huà)“當(dāng)代性”表達(dá)的構(gòu)建[J];大眾文藝;2011年08期

10 李海;;道德自律論析[J];石家莊經(jīng)濟(jì)學(xué)院學(xué)報(bào);2010年02期

相關(guān)碩士學(xué)位論文 前6條

1 王遂;道德自律的實(shí)現(xiàn)研究[D];山東師范大學(xué);2011年

2 胡金波;中國(guó)當(dāng)代藝術(shù)油畫(huà)的觀察與個(gè)案研究[D];重慶大學(xué);2011年

3 聶琦峰;論中國(guó)當(dāng)代藝術(shù)中的中國(guó)因素[D];南京藝術(shù)學(xué)院;2006年

4 李躍芹;西方表現(xiàn)主義繪畫(huà)和中國(guó)意象性油畫(huà)精神表達(dá)的異同[D];河北師范大學(xué);2009年

5 楊娜;對(duì)中國(guó)當(dāng)代藝術(shù)作品走向市場(chǎng)的思考[D];湖南師范大學(xué);2009年

6 胡云;析中國(guó)當(dāng)代油畫(huà)的審美表現(xiàn)[D];蘇州大學(xué);2009年

本文編號(hào)：2452859