《朝鲜族女子》系列油画创作与研究

发布时间：2018-01-08 21:19

本文关键词：《朝鲜族女子》系列油画创作与研究　出处：《延边大学》2017年硕士论文　论文类型：学位论文

【摘要】：如何在油画创作中融入中国美学的意境和民族特色之美是我一直以来研究的课题。因此本文旨在探讨此次《朝鲜族女子》系列油画创作的意义、过程与结论。我将以中国美学思想作为我的理论基础,借助于油画材料表现朝鲜民女子的含蓄之美,以这种特别的民族魅力表现我的个人情思。经济全球化的大背景下,人们的脚步越来越快,注重经济发展的同时,民风民俗已然成为被淡忘的对象,我的家乡朝鲜族自治州延边,必不可免的在这种大环境下正在一点点的失去曾经少数民族区域的魅力,对这片土地充满人文情怀的我想以我的方式捕捉家乡的民族味道,同时我也正处于此次创作中女子一样的花信年华,对未来有憧憬也有忧虑,用中国美学的理念塑造的她们,不如说就是我自己。艺术创作不仅需要个人情怀,也需要本民族的传统文化、美学思想作为基础,因为有传承才会有超越.若想将民族文化魅力进行合理地利用与创新,就需要深刻学习和体会传统文化艺术,体悟传统民族特色之美的历史渊源与艺术张力。只有将这种民族之美(形式美与精神美)、时代感和创作者的个人情怀进行有机结合,才能让这种民族文化生生不息。这看起来并不是一个容易的事,却是很有意义的一个过程。万事万物的运转规律其本质都是一样的,所以我认为传统艺术与当代人的思想一定有一个可以契合的点,我一直在不断的探索这个契合点,希望尽早可以将它尽善尽美的展现在我的画布上。中国美学的意境在于空白中有万物,单色中有万色,因此在我的创作中有大面积的"空"与人物形象形成极大的反差,追求画面整体的大节奏,这种"空"也留给观众无限的想象空间。当然油画区别于中国画在于"不留白"因此我创作中的所谓"空"也都是与主体人物的基本色调相同的豆沙红,在"空"中有冷、暖色相,追求"单色中有万色"。主体人物同样追求这种中国美学的色彩表现,"墨分无色",豆沙红色系中,有冷色,有暖色,有相对深色,亦有相对浅色,整体色彩统一笼罩在豆沙红色系中,这种豆沙红是我个人的偏爱,也是我反观世界的情绪。塑造朝鲜族姑娘时,我采用了写实手法,在写实过程中追求虚实变化,尽可能的表现朝鲜族的含蓄美。在这次毕业创作中我似乎探索到民族传统美与现代审美意识的契合点,传统与当代不会相背离,会有恰当的方式相辅相成,传统美成就现代美,现代美也会发展传统美,我想这才是当今中国画者应当探求的创新。为了方便阅读研究,我将本篇论文分为四个章节来进行阐述。第一章主要论述此次创作的课题背景、研究内容与目的。第二章主要从创作的立意与构思概述《朝鲜族女子》系列作品的创作观念。第三章从创作的经营构图、形象塑造、色彩表现方面论述《朝鲜族女子》系列的创作过程。第四章是对此次毕业创作的总结。
[Abstract]:How to integrate the artistic conception of Chinese aesthetics and the beauty of national characteristics into the oil painting creation is my research topic all the time. Process and conclusion. I will take the Chinese aesthetic thought as my theoretical basis and express the implicit beauty of Korean women with the help of oil painting materials. With this special national charm to express my personal feelings. Under the background of economic globalization, people's steps are getting faster and faster. While paying attention to economic development, folk customs have become the forgotten object. Yanbian, my hometown of Korea Autonomous Prefecture, is inevitably losing the charm of the once ethnic minority areas in such a big environment. On this land full of humanistic feelings I want to capture the flavor of my hometown, at the same time, I am also in the creation of women like the credit years, there is hope for the future and worry. Artistic creation not only needs personal feelings, but also needs the traditional culture and aesthetic thought of this nation as the basis. If we want to make rational use and innovation of the charm of national culture, we need to deeply study and understand the traditional culture and art. To understand the historical origin and artistic tension of the beauty of traditional national characteristics, only this kind of national beauty (formal beauty and spiritual beauty), the sense of the times and the personal feelings of the creators can be combined organically. This is not an easy thing, but it is a very meaningful process. The operation of all things is the same in nature. So I think that there must be a point where the traditional art and contemporary people's thinking can fit, I have been exploring this point of convergence. I hope it can be displayed on my canvas as soon as possible. The artistic conception of Chinese aesthetics is that there are everything in the blank and ten thousand colors in the monochrome. Therefore, in my creation there is a large area of "empty" and the character image of the formation of a great contrast, the pursuit of the overall picture of the big rhythm. Of course, the difference between oil painting and Chinese painting lies in "no white" so the so-called "empty" in my creation is also the same as the main character's basic tone of bean sand red. In the "empty" there are cold, warm color phase, the pursuit of "monochrome has ten thousand colors." the main characters also pursue this Chinese aesthetic color performance, "ink colorless", bean sand red color, there is cold color, there is warm color. There is a relatively dark color, but also a relatively light color, the overall color unified shrouded in the red bean sauce, this red bean is my personal preference, but also my reflection of the world's mood. When shaping Korean girls. I used realistic techniques, in the process of realistic pursuit of virtual changes, as much as possible to show the implied beauty of Korean nationality. In this graduation creation, I seem to explore the national traditional beauty and modern aesthetic awareness of the convergence point. Tradition and contemporary will not deviate from each other, there will be appropriate ways to complement each other, traditional beauty will achieve modern beauty, modern beauty will also develop traditional beauty. I think this is the innovation that the contemporary Chinese painters should explore. In order to facilitate the study of reading, I divide this paper into four chapters to elaborate. The first chapter mainly discusses the background of this subject. Research content and purpose. The second chapter mainly from the creative ideas and ideas of "Korean Women" series of creative ideas. Chapter three from the creation of business composition, image molding. Color performance of the Korean women series of creative process. 4th chapter is a summary of the graduation creation.
【学位授予单位】：延边大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213

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