对内蒙古油画风景发展的思考

发布时间：2018-05-11 19:36

本文选题：自然因素 + 人文因素　；参考：《内蒙古师范大学》2013年硕士论文

【摘要】：内蒙古的油画风景作为内蒙古油画的重要题材门类，通过几代美术工作者的共同努力，经过60多年的成长，进入新世纪迎来了日趋繁荣的景象。内蒙古辽阔的地理环境和草原的人文精神是内蒙古油画风景发展的两大基石。是取之不尽的创作之源。内蒙古油画风景在保持民族性和地域性特色的基础上，真诚的表达真实情感，坚持艺术创作的独立性，并兼传承与创新是内蒙古油画风景的发展之路。也是必然所在。回顾过去展望未来，就会发现内蒙古油画风景在内蒙古最初是以现实主义写实风格的绘画形式出现。而时至今日，现实主义仍然是内蒙古油画风景的主流创作方法，但在艺术风格和表现形式方面呈现出具象、意象、表现、抽象等多元化趋势。艺术若缺乏文化内涵，到一定程度会停滞不前，从事绘画的内蒙古的艺术家和美术工作者在注重绘画技法和专业知识的同时，要提高自身的文化素养。这样才能与时俱进，个人的绘画创作才越会有生命力和创造力。当前，在绘画领域传承与创新始终是向前发展的模式。在传承的前提下，内蒙古的美术工作者需要通过研究风格和观念、研究绘画语言、研究地域人文文化等各种渠道来创新或发展内蒙古油画风景。但油画再怎么发展也不能脱离油画本身的特性一一空间、体积和色彩的意蕴。若油画的创新离^u这些特点，就失去了画种的特质和美学特征。艺术就没有多样性和丰富性了。所以说创新是相对的，，它与传统绘画不是对立分裂的，而是一脉相承的。本文从四个不同时期来概述内蒙古油画风景发展历程，从人文因素、自然因素、地域特征、创作方法及艺术风格等各方面来论述和总结内蒙古油画风景的整体特色及面貌，从而展望和思索内蒙古油画风景的发展前景。
[Abstract]:Inner Mongolia oil painting landscape as an important subject of Inner Mongolia oil painting, through the joint efforts of several generations of art workers, after more than 60 years of growth, into the new century ushered in an increasingly prosperous scene. The vast geographical environment of Inner Mongolia and the humanistic spirit of grassland are the two cornerstones of the development of oil painting scenery in Inner Mongolia. Is the source of inexhaustible creation. Inner Mongolia oil painting landscape on the basis of maintaining national and regional characteristics, sincere expression of true feelings, adhere to the independence of artistic creation, and inheritance and innovation are the way to the development of Inner Mongolia oil painting landscape. It is also a necessity. Looking back at the past and looking forward to the future, it will be found that the Inner Mongolia oil painting landscape appeared in the form of realistic painting style at the beginning of Inner Mongolia. Today, realism is still the main creative method of oil painting landscape in Inner Mongolia, but in the aspect of artistic style and form of expression, there is a diversified trend, such as concrete, image, expression, abstraction and so on. If art lacks cultural connotation, to a certain extent, artists and art workers in Inner Mongolia who are engaged in painting should pay attention to painting techniques and professional knowledge, at the same time, they should improve their own cultural literacy. In order to keep pace with the times, personal painting will have more vitality and creativity. At present, inheritance and innovation in the field of painting has always been the mode of forward development. Under the premise of inheritance, the art workers in Inner Mongolia need to innovate or develop the oil painting landscape of Inner Mongolia through the research of style and concept, painting language, regional humanistic culture and other channels. But no matter how the development of oil painting can not be divorced from the characteristics of oil painting-space, volume and color implication. If the innovation of oil painting is different from these characteristics, it will lose the characteristics of painting and aesthetics. Art has no diversity or richness. Therefore, innovation is relative, it and traditional painting is not the opposite split, but the same lineage. This paper summarizes the history of oil painting landscape development in Inner Mongolia from four different periods, discusses and summarizes the overall features and features of oil painting landscape in Inner Mongolia from the aspects of humanistic factors, natural factors, regional characteristics, creative methods and artistic style, etc. In order to prospect and think about Inner Mongolia oil painting landscape development prospects.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213

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