张晓刚的“中国式家庭”绘画创作研究

发布时间：2018-05-24 01:06

本文选题：张晓刚 + 大家庭　；参考：《华中师范大学》2014年硕士论文

【摘要】：从上个世纪90年代开始,很多中国艺术家就从中国本土文化开始寻找新的突破口,为中国当代艺术的发展开辟一条新的出路,所以大多数艺术家开始达成一种共识,从中国的本土文化中吸取一些具有中国特色文化的元素,这也成为中国艺术家拥有中国文化身份的一个重要标志,在中国当代艺术中,张晓刚的“中国式家庭”绘画系列作品无疑是中国当代艺术中的一个首要代表。张晓刚的大家庭系列作品对本文研究“中国式家庭”绘画创作有很多的研究内容。本文大体上分为四个大点。第一章是张晓刚的学习历程。本章是从张晓刚小时候的社会生活环境等各方面入手,在四川美术学院学习时对于张晓刚艺术观念的影响也是较为深刻的,1989年的现代艺术大展的影响,本节主要介绍张晓刚的德国之旅,格拉德·里希特的艺术创作对张晓刚的影响；第二章主要在分析张晓刚的“中国式家庭”绘画的确立,主要在讲张晓刚早期关于“生命”“死亡”“灵魂”的艺术实践,首张《全家福》的出现确定了张晓刚的“中国式家庭”,然后在技法、语言表达上的成熟使张晓刚的“中国式家庭”迈向成功；第三章是主要是在写张晓刚“中国式家庭”绘画的表达形式；一、从张晓刚作品中的一些元素来加以说明,这中间有“千人一面”的人物表情,这主要是学习里希特对人物的虚化,中国传统的炭精画的技法,从而产生出一种自己的新的人物的表达技法；二、就是在画面中出现一些不合适的元素、色彩来达到画面的冲突,形成一种侵扰的感觉,这主要是通过画面中大面积的黑白与人物脸上的伤痕的颜色和红线来形成一种不和谐,看上去很刺眼,很不舒服的感觉,还有就是人物的木讷的表情；三、是张晓刚这组系列绘画所表达的一个时间,更准确的说是一个年代,采用的是在中国历史上一段特殊的时期,加上黑白灰的色调给人一种回忆,我说这是一个暖味的时间修辞；四、张晓刚在“中国式家庭”这组系列创作中才用的构图,这也是一个很有意味的一个表达手段,采用的是金字塔的构图,这及表现在家庭中每个人得位置是不一样的,在这社会中每个人得位置也是不一样的,每个人都应该有着自己的特定的位置；五、张晓刚的“中国式家庭”是他在创作形式上也产生了一些变化,一般的油画都是采用的加法,而他在学马格利特的减法,减法的应用是为了更大的包容。第四章主要在写张晓刚“中国式家庭”绘画的价值和意义,主要从四个方便来阐述照片中图像的再现、不可磨灭的伤痕、最具有中国特色的大家庭和张晓刚的“中国式家庭”从他个人世界到公共世界的转变。我从这几个方面来看待张晓刚的“中国式家庭”绘画系列作品个我们中国人所带来的一些感受。的确每个人看画都有自己的观点和看法,每个人得敏感点都不一样,在张晓刚的“中国式家庭”绘画系列作品中,六七十年代的人经历了那个年代,他们再看的时候是有着强烈的回忆,八十年代的人看的时候有点点影响,九十年代以后出生的人看的时候根本就没有受到过文革的影响,大多数都是通过历史书,电影上带给他们仅有的视觉感觉。每个人都是一个生命体,都有着自主的意识和思想,张晓刚的“中国式家庭”绘画的系列作品带给他们的肯定是不同的感受。但是这都是表现中国人,这是表现我们中国的某一个历史时代,张晓刚通过他自己的油画语言来是中国当代艺术走向了全世界,并且得到了全世界人民的肯定和认可。
[Abstract]:From the beginning of the 1990s , many Chinese artists began to find a new breakthrough from the Chinese native culture , which opened a new way for the development of Chinese contemporary art , so most artists began to reach a consensus , which also became an important symbol of Chinese cultural identity . In contemporary Chinese art , Zhang Xiaogang ' s " Chinese family " painting series was undoubtedly a primary representative in contemporary art in China .

The first chapter is Zhang Xiaogang ' s study history . The first chapter is Zhang Xiaogang ' s study history . This chapter starts with Zhang Xiaogang ' s study history . This chapter is the influence of Zhang Xiaogang ' s artistic conception in the study of Sichuan Academy of Fine Arts .
The second chapter mainly analyzes Zhang Xiaogang ' s " Chinese family " painting , mainly in the early stage of Zhang Xiaogang ' s " soul " of " life " and " soul " , the first Zhang Xiaogang ' s appearance of " Chinese family " , then in the technique , language expression the maturity of Zhang Xiaogang ' s " Chinese family " towards success ;
The third chapter is mainly to write Zhang Xiaogang ' s expression form of " Chinese family " painting ;
First , from some elements in Zhang Xiaogang ' s works , there are " thousand people " in the middle , which is mainly to study the Chinese traditional charcoal painting technique , so as to produce a new person ' s expression technique ;
Second , there are some inappropriate elements in the picture , the color comes up to the conflict of the picture , forms a kind of intrusive feeling , this is mainly through the large area black and white in the picture and the character ' s scar color and the red line to form an inharmonious , looks very harsh , very uncomfortable feeling , and is the character ' s wooden expression ;
3 . It is a time expressed by Zhang Xiaogang ' s series of paintings , and more accurate is an age , adopted in the history of China for a special period , plus the tone of black and white gray to a person , I said this is a warm time rhetoric ;
4 . Zhang Xiaogang ' s composition in the series of " Chinese family " series , which is also a very interesting expression means , adopts the composition of the pyramid , this is different from every person in the family , in this society everyone needs position is different , each person should have its own specific position ;
In the fifth chapter , Zhang Xiaogang ' s " Chinese family " has also produced some changes in the form of creation , and the general oil painting is the addition , and the application of his subtraction and subtraction is to be more inclusive . The fourth chapter mainly expounds the value and significance of the image in the pictures from four convenience . The fourth chapter mainly deals with the transformation from his personal world to the public world from the four convenience . I take a look at Zhang Xiaogang ' s " Chinese family " painting series works as a feeling of our Chinese people .

It is true that everyone has his own views and views , and everyone has a sensitive point . In Zhang Xiaogang ' s " Chinese family " painting series , the people who were born in the 1960s had a strong memory . Most of them had a sense of self - consciousness and thought . Everyone was a living body , and most of them had a sense of autonomy and thought . Zhang Xiaogang ' s " Chinese family " painting series brought them to their affirmation .
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205

【参考文献】