中国当代油画“影像化”倾向的理论与创作研究

发布时间：2018-02-14 16:16

本文关键词： 中国当代油画图像时代 “影像化”倾向　出处：《浙江理工大学》2015年硕士论文　论文类型：学位论文

【摘要】：随着科技的发展,影像成为现代人观看世界、获取信息的主要载体和来源,电脑、电视、报纸以及手机等媒介在源源不断的生成影像。中国当代油画创作的“影像化”倾向这一艺术现象正是基于这种影像时代下的产物。面对影像对绘画的冲击,中国当代油画艺术家顺应时代发展的潮流,在吸纳学习国外艺术风格的基础上结合本土语境的视觉经验,利用影像、改造影像进行个人的艺术创作实践,形成中国当代油画“影像化”倾向创作的群体性艺术现象,为中国当代油画注入了新鲜的血液。本文通过对中国当代油画“影像化”的创作倾向在国内的产生以及呈现的面貌进行梳理、分析,并对这一具有时代价值取向和创作观念的艺术现象进行阐述。通过梳理试图建构自我“影像化”创作的方向,提高捕捉由周围环境形成的特殊视觉感受的敏锐性,并合理利用、借鉴影像来承载自己的创作观念。本文主要分五个部分:第一部分为绪论,内容主要为对研究的对象、相关概念进行阐释,并对选题的来源、研究的目的与意义、研究的思路与方法进行阐述。第二部分是对“影像化”创作倾向的艺术家在当代艺术展览中的现状调研,以“改造历史:2000—2009年的中国新艺术”展为例,分析该展览中油画创作“影像化”倾向的艺术家所占参展及获奖人数的比例进行数据分析,阐述其在当代油画创作中的价值并总结调研情况及指导意义。第三部分是对中国当代油画“影像化”创作倾向产生的时代背景以及当代艺术发展历史进行梳理,从历史经验中寻找其创作思想的发展脉络。第四部分是对中国当代油画呈现的“影像化”创作倾向进行归纳并从两方面入手剖析,一是绘画对影像的借鉴,二是绘画对影像的置换与重构,并阐述“影像化”倾向创作的绘画性及文化性。第五部分是个人创作实践报告,从创作实践入手对“影像化”倾向创作进行探索,从中总结创作经验。结语部分是由个人创作实践引发的关于油画创作“影像化”倾向的思考。
[Abstract]:With the development of science and technology, video has become the main carrier and source for modern people to view the world and obtain information, computers, television, Newspapers, mobile phones and other media are constantly generating images. The artistic phenomenon of "image-oriented" tendency of Chinese contemporary oil painting is based on the product of this kind of image age. In the face of the impact of image on painting, Chinese contemporary oil painting artists conform to the trend of the development of the times, on the basis of absorbing and learning foreign artistic styles, combining with the visual experience of local context, using images and transforming images to carry out personal artistic creation practice. Forming the group art phenomenon of "image" tendency of Chinese contemporary oil painting, This paper analyzes the emergence and appearance of contemporary Chinese oil painting in China by injecting fresh blood into it. This art phenomenon, which has the value orientation of the times and the idea of creation, is expounded. By combing the direction of self-creation of "image", the sensitivity of capturing the special visual feeling formed by the surrounding environment is improved, and the rational use is made of it. This paper is divided into five parts: the first part is the introduction, the content is mainly to explain the object of study, related concepts, and the origin of the topic, the purpose and significance of the study. The second part is to investigate the present situation of the artists with the tendency to create "image" in the contemporary art exhibition, taking the exhibition of "remoulding the History of New Chinese Art from 2000 to 2009" as an example. This paper analyzes the proportion of artists who tend to "image" oil painting creation in this exhibition to participate in the exhibition and the number of winners. It expounds its value in contemporary oil painting creation and summarizes the research situation and guiding significance. The third part is to sort out the background of the creation tendency of Chinese contemporary oil painting "image" and the history of contemporary art development. From the historical experience to find the development of his creative thinking. 4th part of the Chinese contemporary oil painting presented by the "image" creative tendency is summarized and analyzed from two aspects, the first is the drawing on the image, The second is the replacement and reconstruction of the image by painting, and expounds the painting and culture of the tendency to create "image". 5th part is the report of personal creation practice, starting with the creative practice, the author explores the tendency of "image" creation. The conclusion part is a reflection on the tendency of oil painting creation to "image" caused by personal creation practice.
【学位授予单位】：浙江理工大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J213

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