中国画的形式美在西方油画方面的应用
[Abstract]:Throughout the history of Chinese art development in the 20th century, it is a critique, inheriting the traditional art culture and absorption of this nation, drawing lessons from the history of modern western art thoughts, and the abstract nature of the pursuit of modern western art. Chinese calligraphy and freehand brushwork have the same work, are the expression of subjective spirit, and Chinese painting wins in paying more attention to the profound artistic conception, and the management of pen. The breadth and sophistication of Chinese painting is a treasure trove of knowledge. In the process of studying Chinese painting, it can be applied to Western oil paintings. This has formed a new kind of expressionism, because Chinese calligraphy and painting are well-thought-out. That is to say, before the writing was finished, a sense of integration of the idea had been worked out, which formed an artistic conception. In addition, Chinese painting pays attention to the aesthetic sense of the line modeling and structure, which expresses a rhythm, as well as the outpouring of the subjective temperament thinking. They attach importance to the beauty of form. As far as the relationship between practice and meaning is concerned, Chinese calligraphy and painting are between likeness and non-likeness, but the pursuit of impossibility is high, the beauty of nature is simple and true, and, more importantly, there is the transmission of the spirit of the subject. If you study this and apply it to Western oil paintings, Then the painters also have their own characteristics, but also better performance of the significance of painting! In the discussion and controversy of the nationalization of oil paintings, the elements of Chinese painting have been continuously absorbed by oil painters in the general trend of contemporary oil painting creation, and have become the performance styles of transforming western oil paintings. Oil painting has a distinct national characteristics of an effective path. This paper makes a brief analysis and discussion on the application of the formal beauty of Chinese painting in oil painting. The oil painting of Chinese national painting will be better displayed on the world stage. These works have less heavy and greasy feeling and more refreshing and refreshing essence. Seemingly natural lines reflect flexibility and nature, but everyone is different, lines from their own grasp and live, of course, reflect different temperament, with their own heart to see things, ordinary also become extraordinary!
【学位授予单位】:东北师范大学
【学位级别】:硕士
【学位授予年份】:2013
【分类号】:J213;J212
【共引文献】
相关期刊论文 前10条
1 王晓俊;;色彩学的发展对印象派产生的影响[J];安徽文学(下半月);2009年06期
2 赵滨;;中国书法艺术的审美和追求[J];安徽文学(下半月);2009年07期
3 叶桦;风景写生教学探究[J];安康师专学报;2005年04期
4 叶桦;继承与革新——浅析写实主义、印象主义和后印象主义之间的关系[J];长春师范学院学报;2004年06期
5 周静;对伊秉绶隶书线条美的几点体会[J];昌吉学院学报;2004年02期
6 张放;;在科学与理性精神中的嬗变——谈19世纪法国印象派[J];重庆师范大学学报(哲学社会科学版);2006年05期
7 陈宏可;;静物布置与审美教育[J];常州工学院学报(社科版);2008年Z1期
8 刘强;;高师风景写生教学的有效策略[J];大舞台;2011年10期
9 夏蕾;;印象派对中国油画在技法上的影响[J];大舞台;2012年06期
10 田燕;浅析中国画线描艺术的美学观[J];湖南第一师范学报;2005年01期
相关博士学位论文 前5条
1 闵胜俊;战国中山国青铜器铭文美学研究[D];山东大学;2011年
2 林印吉;睡莲中的灵晕[D];中国美术学院;2011年
3 周勋君;清代书法批评中对形质的描述及其相关问题的研究[D];中央美术学院;2008年
4 申欣欣;美术背景·艺术理念·诗歌创作[D];复旦大学;2010年
5 章剑华;中国书法的现代构建[D];南京艺术学院;2010年
相关硕士学位论文 前10条
1 魏强;从中国山水画和风景油画谈写生[D];西北民族大学;2010年
2 李照;书法与平面设计艺术的共性探微[D];湖南师范大学;2011年
3 喻计耀;勃纳尔绘画中的形式美研究[D];广西师范大学;2011年
4 苏翠虹;后印象主义绘画语言中简约特征的研究[D];广西师范大学;2011年
5 李丹;光线与意境营造[D];南昌大学;2011年
6 刘翔;欧阳询、颜真卿楷书造形与空间之研究[D];南昌大学;2011年
7 李兴华;浅析印象派的人体绘画[D];四川师范大学;2011年
8 王美钦;写实油画技法在中国的传播和发展[D];中国艺术研究院;2002年
9 刘晓丽;追求唯美——论雷诺阿的作品[D];南京师范大学;2002年
10 朱巽华;孙过庭《书谱》及其书法美学思想[D];安徽师范大学;2007年
本文编号:2310393
本文链接:https://www.wllwen.com/wenyilunwen/huihuayishu/2310393.html