以《鲁迅故乡》为例分析吴冠中中后期艺术创作特征
发布时间：2019-06-15 17:53
【摘要】：吴冠中先生是中国现当代绘画发展中最具代表性的画家之一,他一生致力于研究中国画与西方绘画的结合之道,试图把中国传统的水墨与西方现代艺术的表现手法结合在一起。在他的作品中,经常会看到中国水墨的神韵和西方现代表现手法的视觉冲击力,他以油画语言作为媒介表现中国传统的东方意蕴,这种独特的绘画思想和影响力,不仅突出表现了中国传统文化的精髓,而且还扩展了中国油画的表现空间。 本文通过对吴冠中先生的代表作《鲁迅故乡》系列作品研究分析,强调鲁迅先生在人文精神、爱国情怀、美术观念等方面给予吴冠中的深刻影响,深入地了解其80年代期间艺术创作的特征。以画家个体作为切入点,以80年代特殊时代为背景,研究性的分析探究中国改革开放初期,市场经济体制下艺术家生存的现状,以及艺术家转变艺术创作风格的因素。通过对吴冠中系列作品的研究,可以看到一位画家线性的发展轨迹,让我们能够更清晰的认识到艺术家怎样主观能动的寻找艺术创作的变化,怎样丰富其艺术语言的表现力。并且就吴冠中先生80年代艺术创作风格的变化,对我的影响阐述自己的看法。当然从《鲁迅故乡》系列绘画作品中也不难看出吴冠中对于鲁迅先生的推崇,“横眉冷对千夫指,俯首甘为孺子牛”的精神不仅值得吴冠中先生学习,更值得当代青年入学习。这样一句“接地气”的话提醒了我的艺术创作同样也要“接地气”。从吴冠中的风景画作品中,我们可以强烈的感受到油画作为外来媒材,在吴冠中手中抒发了中国民族性的情结和对中国传统文化的继承。本文试对吴冠中先生80—90年代期间艺术创作道路做一个梳理,通过吴冠中在艺术创作中的变化,来分析艺术家如何实践东西方绘画两种艺术语言中不同美学观念的完美结合?如何探索“油画民族化”“中国画现代化”的创作理念?当然也可以了解中国传统文化给予中国本土画家的“营养”,从而引发画家形成个人风格的思索。以及在市场经济的大背景下,艺术家对于艺术创作应该持有的态度。
[Abstract]:Mr. Wu Guanzhong is one of the most representative painters in the development of modern and contemporary Chinese painting. He devoted himself to studying the combination of Chinese painting and western painting all his life, trying to combine Chinese traditional ink and ink with the expression of western modern art. In his works, he often sees the charm of Chinese ink and the visual impact of western modern expression techniques. He uses oil painting language as the medium to express the oriental implication of Chinese tradition. This unique painting thought and influence not only highlights the essence of Chinese traditional culture, but also expands the expression space of Chinese oil painting. Based on the research and analysis of the series of works of Lu Xun hometown, Mr. Wu Guanzhong's masterpiece, this paper emphasizes the profound influence of Mr. Lu Xun on Wu Guanzhong in the aspects of humanistic spirit, patriotism and art concept, and deeply understands the characteristics of his artistic creation during the 1980s. Taking individual painters as the starting point and taking the special era of 1980s as the background, this paper analyzes and probes into the present situation of artists' survival under the market economy system in the early stage of China's reform and opening up, as well as the factors that artists change their artistic creation style. Through the study of Wu Guanzhong's series of works, we can see the linear development track of a painter, so that we can realize more clearly how the artist can find the change of artistic creation subjectively and how to enrich the expressive force of his artistic language. And on the changes of Mr. Wu Guanzhong's artistic creation style in the 1980 s, this paper expounds his own views on my influence. Of course, it is not difficult to see from the series of paintings of "Lu Xun's hometown" that Wu Guanzhong's respect for Mr. Lu Xun is not only worthy of Mr. Wu Guanzhong's study, but also worthy of the study of contemporary young people. Such a "approachable" words remind me that my artistic creation should also be "approachable." From Wu Guanzhong's landscape painting works, we can strongly feel that oil painting, as a foreign medium, expresses the complex of Chinese nationality and the inheritance of Chinese traditional culture in the hands of Wu Guanzhong. This paper tries to sort out the road of artistic creation of Mr. Wu Guanzhong during the 1980s and 1990s, and analyzes how artists practice the perfect combination of different aesthetic concepts in the two artistic languages of eastern and western painting through the changes of Wu Guanzhong in artistic creation. How to explore the creative concept of "nationalization of oil painting" and "modernization of Chinese painting"? Of course, we can also understand the "nutrition" of Chinese traditional culture to Chinese local painters, thus causing painters to form a personal style of thinking. And in the context of the market economy, artists should hold an attitude towards artistic creation.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
本文编号：2500405
[Abstract]:Mr. Wu Guanzhong is one of the most representative painters in the development of modern and contemporary Chinese painting. He devoted himself to studying the combination of Chinese painting and western painting all his life, trying to combine Chinese traditional ink and ink with the expression of western modern art. In his works, he often sees the charm of Chinese ink and the visual impact of western modern expression techniques. He uses oil painting language as the medium to express the oriental implication of Chinese tradition. This unique painting thought and influence not only highlights the essence of Chinese traditional culture, but also expands the expression space of Chinese oil painting. Based on the research and analysis of the series of works of Lu Xun hometown, Mr. Wu Guanzhong's masterpiece, this paper emphasizes the profound influence of Mr. Lu Xun on Wu Guanzhong in the aspects of humanistic spirit, patriotism and art concept, and deeply understands the characteristics of his artistic creation during the 1980s. Taking individual painters as the starting point and taking the special era of 1980s as the background, this paper analyzes and probes into the present situation of artists' survival under the market economy system in the early stage of China's reform and opening up, as well as the factors that artists change their artistic creation style. Through the study of Wu Guanzhong's series of works, we can see the linear development track of a painter, so that we can realize more clearly how the artist can find the change of artistic creation subjectively and how to enrich the expressive force of his artistic language. And on the changes of Mr. Wu Guanzhong's artistic creation style in the 1980 s, this paper expounds his own views on my influence. Of course, it is not difficult to see from the series of paintings of "Lu Xun's hometown" that Wu Guanzhong's respect for Mr. Lu Xun is not only worthy of Mr. Wu Guanzhong's study, but also worthy of the study of contemporary young people. Such a "approachable" words remind me that my artistic creation should also be "approachable." From Wu Guanzhong's landscape painting works, we can strongly feel that oil painting, as a foreign medium, expresses the complex of Chinese nationality and the inheritance of Chinese traditional culture in the hands of Wu Guanzhong. This paper tries to sort out the road of artistic creation of Mr. Wu Guanzhong during the 1980s and 1990s, and analyzes how artists practice the perfect combination of different aesthetic concepts in the two artistic languages of eastern and western painting through the changes of Wu Guanzhong in artistic creation. How to explore the creative concept of "nationalization of oil painting" and "modernization of Chinese painting"? Of course, we can also understand the "nutrition" of Chinese traditional culture to Chinese local painters, thus causing painters to form a personal style of thinking. And in the context of the market economy, artists should hold an attitude towards artistic creation.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
【参考文献】
相关期刊论文 前3条
1 吴冠中;绘画的形式美[J];美术;1979年05期
2 吴冠中;关于抽象美[J];美术;1980年10期
3 任春艳;;吴冠中和鲁迅[J];美与时代(下);2012年10期
，本文编号：2500405
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