中国当代油画风景写生中物象的转换性研究
发布时间：2019-02-15 13:46
【摘要】：油画风景写生是一个历久不衰的话题,是学院专业师生必须面对的一门必修课程。它有助于我们解决色彩、造型、构图等绘画形式问题或是帮助我们完成创作前期的工作。长期的写生实践和较为成熟的语言表达让写生成为艺术家创作的直接方式,这样的案例在中国当代油画风景研究过程中并不少见。在写生当中,艺术家是如何对千变万化的物象进行艺术语言的转换是初学者乃至具有丰富经验的艺术家长期思考的问题。回顾油画风景历史,从文艺复兴到后印象慢慢成为一门独立的学科可见其学术价值;从乔尔乔内到塞尚、高更我们清晰的看见了他们对于风景的研究脉络;从国内早期留欧留日到当代画家对绘画语言的探索窥见本土油画风景的发展趋向。国内外关于油画风景写生的书籍纷繁复杂,几乎包含了关于油画风景各个方面,对于初学者来说如何系统的去学习需要谨慎选择,因为画面语言的形成需要系统的去研究,而绝非管中窥豹,时见一斑。本文以中国当代油画风景写生中物象的转换性研究为论题,结合风景写生过程中个人的实践经验,主要运用文献研究、图像研究、举例研究、对比研究等方法。文章分为五大部分,绪言部分主要交代此论题的研究现状、创新之处、研究目的、意义、研究方法、研究内容和文章结构。第一章首先审视何为油画风景写生,它与风景创作有何区别,构建起油画风景写生的概念。其次对题目中的物象进行阐述并简单论述油画风景写生的发展概况;从风景写生的主客观性解释画家对表现物象“真实”的理解,通过美术史中的艺术家在写生中物象转化的画面分析寻找画家在写生中所关注的绘画语言。第二章重点研究中国当代风景画家在写生中的物象转换,分别从四个方面对艺术家群体进行归纳,找出其中的规律性:对点线面的探索;对色彩和装饰性的追求;对造型图示规律的思考;对中国画图式的借鉴。在写生过程中艺术家究竟是如何对物象进行转换的?笔者通过实景照片与写生作品并结合以上四个方面对比分析,并做出总结点评,提出优缺点。第三章笔者紧接着分析出现第二章现象的背景。第四章是在对前三章的研究基础上从自身语言实践和绘画本身做总结,即从中国当代风景写生物象转换研究中获得的启示,这样的研究对于笔者来说是自我艺术实践的总结。最后,因为油画风景写生这一命题的持久性,笔者提出对于这门学科的研究我们始终要专注于绘画本身,回归本土,关注当下。
[Abstract]:Oil painting is an enduring topic and a compulsory course for teachers and students. It helps us to solve color, modeling, composition and other painting forms, or to help us finish the preliminary work. The long term sketch practice and the mature language expression make the sketch become the direct way of the artist's creation, such cases are not rare in the process of the Chinese contemporary oil painting landscape research. In the process of sketching, it is a problem for beginners and even experienced artists to think about how artists transform the changing images of objects into artistic languages. Reviewing the history of oil painting landscape, from the Renaissance to the post-impression gradually become an independent subject to see its academic value, from Jorgione to Cezanne, Gauguin clearly saw their research on the landscape context; From the early stay in Europe to the exploration of painting language by contemporary painters, we can see the development trend of local oil painting scenery. There are numerous and complicated books about oil painting landscape sketch at home and abroad, almost including all aspects of oil painting landscape. For beginners, how to learn systematically needs careful choice, because the formation of picture language needs systematic study. And by no means peepy leopard, when see a spot. This paper focuses on the study of the conversion of objects in the painting of contemporary Chinese oil painting, combining with the personal practical experience in the process of landscape painting, mainly using the methods of literature research, image study, example study, contrast study, and so on. The paper is divided into five parts. The preface mainly explains the research status, innovation, research purpose, significance, research methods, research content and article structure. The first chapter first examines what is oil painting landscape sketch, what is the difference between it and landscape creation, constructs the oil painting landscape sketch concept. Secondly, it expounds the object images in the title and briefly discusses the development of oil painting landscape sketching. Based on the subjective objectivity of landscape painting, this paper explains the painter's understanding of the "reality" of the representation of the object image, and finds out the painting language which the artist pays attention to in the painting through the analysis of the picture of the transformation of the object image in the painting of the artist in the art history. The second chapter focuses on the transformation of objects in the painting of contemporary Chinese landscape painters, respectively, from four aspects to sum up the group of artists, find out the regularity: the exploration of points and lines, the pursuit of color and decoration; Thinking about the pattern law and drawing Chinese drawing style for reference. In the process of sketching, how did the artist change the image? The author contrasts and analyzes the above four aspects through realistic photos and sketches, and makes a summary and comments, and puts forward the merits and demerits. The third chapter analyzes the background of the second chapter. The fourth chapter is based on the study of the first three chapters from their own language practice and painting itself, that is, from the study of contemporary Chinese landscape sketch object transformation, such a study is a summary of the author's own art practice. Finally, because of the persistence of the subject of oil painting, the author proposes that we should always focus on painting itself, return to the mainland, and pay attention to the present.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
本文编号：2423419
[Abstract]:Oil painting is an enduring topic and a compulsory course for teachers and students. It helps us to solve color, modeling, composition and other painting forms, or to help us finish the preliminary work. The long term sketch practice and the mature language expression make the sketch become the direct way of the artist's creation, such cases are not rare in the process of the Chinese contemporary oil painting landscape research. In the process of sketching, it is a problem for beginners and even experienced artists to think about how artists transform the changing images of objects into artistic languages. Reviewing the history of oil painting landscape, from the Renaissance to the post-impression gradually become an independent subject to see its academic value, from Jorgione to Cezanne, Gauguin clearly saw their research on the landscape context; From the early stay in Europe to the exploration of painting language by contemporary painters, we can see the development trend of local oil painting scenery. There are numerous and complicated books about oil painting landscape sketch at home and abroad, almost including all aspects of oil painting landscape. For beginners, how to learn systematically needs careful choice, because the formation of picture language needs systematic study. And by no means peepy leopard, when see a spot. This paper focuses on the study of the conversion of objects in the painting of contemporary Chinese oil painting, combining with the personal practical experience in the process of landscape painting, mainly using the methods of literature research, image study, example study, contrast study, and so on. The paper is divided into five parts. The preface mainly explains the research status, innovation, research purpose, significance, research methods, research content and article structure. The first chapter first examines what is oil painting landscape sketch, what is the difference between it and landscape creation, constructs the oil painting landscape sketch concept. Secondly, it expounds the object images in the title and briefly discusses the development of oil painting landscape sketching. Based on the subjective objectivity of landscape painting, this paper explains the painter's understanding of the "reality" of the representation of the object image, and finds out the painting language which the artist pays attention to in the painting through the analysis of the picture of the transformation of the object image in the painting of the artist in the art history. The second chapter focuses on the transformation of objects in the painting of contemporary Chinese landscape painters, respectively, from four aspects to sum up the group of artists, find out the regularity: the exploration of points and lines, the pursuit of color and decoration; Thinking about the pattern law and drawing Chinese drawing style for reference. In the process of sketching, how did the artist change the image? The author contrasts and analyzes the above four aspects through realistic photos and sketches, and makes a summary and comments, and puts forward the merits and demerits. The third chapter analyzes the background of the second chapter. The fourth chapter is based on the study of the first three chapters from their own language practice and painting itself, that is, from the study of contemporary Chinese landscape sketch object transformation, such a study is a summary of the author's own art practice. Finally, because of the persistence of the subject of oil painting, the author proposes that we should always focus on painting itself, return to the mainland, and pay attention to the present.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
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