中国当代风景油画中的写意性研究

发布时间：2018-05-19 01:06

本文选题：写意性 + 风景油画　；参考：《河南大学》2013年硕士论文

【摘要】：油画自传入中国以来，历经几十年的风格巨变，使现当代的中国油画有了崭新的面貌。油画是西学东渐萌生所带来的一大财富，对于外来物的接受总会有这样一个过程，无外乎就是全盘模仿学问——有选择的研习，掌握一门技能或真正了解艺术，首先就必须要达到富有创造性地突破，只有这样才能立于艺术殿堂之中，才能拥有更高层次的精神追求，油画在中国现当代已发展到这一阶段。本文在研究中国当代风景油画中的写意性时，首先按照时间上的逻辑顺序把写意性风景油画在中国的发展历程梳理清楚，从现代写意性风景油画的产生与发展和当代写意性风景油画的发展这两个大方面着手分析，并在每个时间段内选取最具代表性的画家。主要从画家的生存背景、艺术审美趋向、艺术思想意蕴以及代表作品这几个方面来详细分析。写意性风景油画在中国本土的发展并不那么明确，只能在大的发展历程中宏观性的进行把控。写意性的研究要立足于绘画中的具体表现之中，具体表现则又分为形式表达和思想表达两部分。形式表达即是单从视觉画面效果的外在形式出发，以整个画面构图为框架，具体分析空间、造型和色彩的写意性表现。这部分的思想表达，总结出了写意性在思想表达上所具有的两个特点：客观抽象性和主观情感性。在具体分析过这些现象之后，要追本溯源的去探究写意性与中国当代风景油画相融合的具体成因。这个成因就分别从东西方两种不同艺术文化背景中最深层的思想哲学中挖掘，在追溯传统的同时也需要关注艺术文化相融合的时代性，在纵的时间线索与横的空间线索之中，试图寻求问题研究的完整性探索。几千年的华夏民族丰厚的传统文化积淀，预示着或激励着多元民族艺术文化的强大相融性。风景油画中的写意性便是东西方两种文化在新时代绘画艺术中相融性的最佳诠释。风景油画中的写意性是对传统艺术在当下环境中的一种延伸与发展，也是绘画艺术的一种抽象性的表现，更是对西方油画的创造性突破。风景油画的写意性，创造了一种与时俱进的审美情感，在传统艺术铺垫的前提下，人们的艺术审美被迫在不断地变化着，于是便生发出与时代相对应的一种审美情愫，即对主体审美情感自由挥发的诉求，对西方泊来物审美差异性的兼容并蓄，对当代民族艺术发展的审美创意突破。审美情感的变化也注定风景油画写意性的发展，在时空中寻求变化中的平衡。本文在对风景油画的写意性进行分析时，，试图在有限的二维空间内表达出超越时空观的中国艺术意境之深邃，而不是简单作为一种形式媒介的附庸。风景油画的写意性在东西方绘画的空间概念中找到了一个支点，在同等媒介下，空间的韵义得到了极大地扩展，在这个部分将东方意味深远的神韵之美与西方的三维立体空间的理性构造融为一体。风景油画的写意性为西方架上绘画的发展形式以及形式内涵增添了新鲜的异域风情，它试图调和这两种差异巨大的文化背景的艺术氛围。本文在分析油画的写意性的发展历程的基础上，具体阐释了优化写意性的内在以及外在的形式研究，从东方绘画艺术的精神理论根源着手，运用中国传统绘画的精髓来进行详细解析。纵观整个油画发展史，形式与内涵的写意性具有本质意义上的颠覆性。不仅在形式上是一种抽象化的别样显现，在其内涵上也是一种飞跃性的极端展示。本文为写意性的现当代油画创造出了符合中国绘画形式独有的艺术韵味。
[Abstract]:Since the Autobiography of oil painting in China, after decades of great changes in style, it has made modern Chinese oil painting a new look. Oil painting is a great wealth brought by the emergence of Western learning. There is always such a process for the acceptance of foreign things. To understand art, we must first achieve a creative breakthrough, only in this way can we stand in the palace of art to have a higher level of spiritual pursuit. Oil painting has developed to this stage in the present and contemporary China.
In the study of the freehand nature of Chinese contemporary landscape oil painting, first of all, according to the logical sequence of time, it combs the development course of the freehand landscape painting in China, analyzes the two aspects of the emergence and development of modern freehand brushwork landscape oil painting and the development of contemporary freehand landscape oil painting, and in every time period. Select the most representative painter, mainly from the painter's living background, artistic aesthetic trend, artistic idea connotation and representative works. The development of freehand landscape painting in China is not so clear, only in the course of the macro development of macro control. In the concrete expression of painting, the concrete expression is divided into two parts: the form expression and the thought expression. The form expression is from the external form of the visual picture effect, the whole picture composition as the frame, the specific analysis of the space, the shape and the color of the freehand expression. The two characteristics are objective abstractness and subjective emotion. After analyzing these phenomena, we should explore the concrete causes of the integration of freehand brushwork and Chinese contemporary landscape oil painting. This cause is excavated from the deepest thought philosophy of the two different arts and cultures in the East and the West. At the same time, it also needs to pay attention to the epochal nature of the integration of art and culture, and try to seek the integrity of the research in the longitudinal and horizontal clues.
The rich traditional cultural accumulation of the Chinese nation for thousands of years indicates or inspires the strong fusion of the multi ethnic art and culture. The freehand nature of the landscape painting is the best interpretation of the blending between the two cultures of the East and the West in the new era of painting. Extension and development are also an abstract expression of painting art. It is a creative breakthrough in Western oil painting. The freehand nature of landscape painting creates a kind of aesthetic emotion that keeps pace with the times. Under the premise of traditional art paving, people's art and aesthetics are constantly changed, so they give birth to a kind of trial that corresponds to the times. The beauty of beauty, that is, the demand for the free volatilization of the aesthetic emotion of the subject, the aesthetic difference of the Western pooper, the breakthrough of the aesthetic creativity of the development of contemporary national art. The change of the aesthetic emotion also doomed the development of the landscape painting, and seeks the balance in the change in time and space. In the finite two-dimensional space, we try to express the profound Chinese artistic conception beyond the view of space and time in the limited two-dimensional space, instead of simply being the appendage of a form medium. The freehand nature of the landscape painting has found a fulcrum in the space concept of the East and the West. Under the same media, the rhyme of space has been greatly expanded, in this department. It integrates the beauty of the eastern meaning and the rational structure of the three-dimensional three-dimensional space in the West. The freehand nature of the landscape painting adds a fresh exotic atmosphere to the development form and the form connotation of the Western shelf painting. It tries to reconcile the artistic atmosphere of the two different cultural backgrounds. On the basis of the course of the development of freehand brushwork, the internal and external forms of the optimization of freehand brushwork are explained in detail. From the spiritual theoretical root of the Oriental painting art, the essence of traditional Chinese painting is used to make a detailed analysis. In the history of the whole oil painting, the freehand nature of the form and connotation is subversive in essence. Not only in form is a kind of abstract appearance, but also a kind of extreme display in its connotation. The present and contemporary oil painting of freehand writing has created a unique artistic charm which is in line with the form of Chinese painting.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213

【参考文献】