浅析中国当代油画的平面化意识

发布时间：2018-03-30 19:52

本文选题：图像时代　切入点：平面化意识　出处：《华东师范大学》2011年硕士论文

【摘要】：这是一个严峻的事实：我们生活的时代是一个影像技术越来越发达,影像获取和复制越来越方便的时代,很多时候,镜头替代了我们的眼睛,信息替代了经典的阅读。在这个时代,油画的生存和发展受到了巨大的威胁。近年来,中国当代油画逐步秉弃或背叛了欧洲传统的古典主义模式,突破画面的三维空间、立体表现、光影效果,变焦点透视和成角透视为散点透视或视觉移动透视,形成了淡化光影、削弱对比、趋向于平面化的表现手法。这种表现手法完全符合人们快速浏览式的机械观图法则,正被越来越多的人所接受并悄然形成一种趋势。关于平面化意识,不禁让人联想到中国传统绘画。从中国古代“天人合一”的哲学观到“外师造化,中得心源”再到中国传统绘画的平面观,都是—脉相承的,它和从西方的科学的形上学到镜子说、模仿说再到写实绘画的透视观有着天壤之别。自1832年照相机发明到20世纪中期,西方现代主义绘画的重要一脉都是反图像的,从印象派、后印象派到立体派、抽象表现主义,整个现代艺术发展的历史就是平面化的历史,在平面化进程中,一些画家还受到了东方艺术的影响。傻瓜机的诞生使“合格”的照片数量剧增,大批非专业人员加入到摄影队伍中来,不少艺术家开始对图像产生迷恋,有的直接挪用广告、海报等图像,也有的通过绘画性的表达再现照片,都体现不同程度的平面化意识。虽然在西方油画早就经历了平面化意识的转型,但中国的油画教育却还延续着三维透视的写实画法。直至’85新潮,以高校学生为主对艺术现代化进行了集群性试验,进入90年代,中国艺术家趋于冷静和超脱,二十一世纪的油画教育,除加强国际交流与合作外更坚持中国文化主体意识。中国当代油画平面化意识,即具有一定的民族传承,又顺应了国际潮流,还真实地反映着社会生活,它的存在使我们有理由相信,油画将与其他媒介长期共处共生,共同丰富着我们的视觉世界。
[Abstract]:This is a grim fact: we live in an age where image technology is getting more and more advanced, images are getting more and more convenient to access and copy, and many times, lenses have replaced our eyes. Information replaces classic reading. In this era, the survival and development of oil painting is threatened. In recent years, Chinese contemporary oil paintings have gradually abandoned or betrayed the traditional European classical model, breaking through the three-dimensional space of the picture, stereoscopic expression, light and shadow effect, changing focus perspective and angle perspective into scattered point perspective or visual moving perspective. It has formed the expressive technique of desalting light and shadow, weakening contrast and tending to be flat, which completely accords with the principle of mechanical view of people's quick browsing, and is accepted by more and more people and forms a trend quietly. As for the consciousness of plane painting, one cannot help but think of Chinese traditional painting. From the philosophy of "harmony of nature and man" in ancient China to the "creation of outside teachers," and then to the plane view of traditional Chinese painting, all of them are related to each other. It is very different from the perspective view of learning from western science form mirror theory, imitation theory to realistic painting. From the invention of camera in 1832 to the middle of the 20th century, the important vein of western modernist painting was anti-image, from Impressionism, Post-Impressionism to Cubism, Abstract Expressionism, and the whole history of modern art development was the history of planarization. In the process of planarization, some painters are also influenced by oriental art. With the birth of the machine, the number of "qualified" photos increased dramatically, and a large number of non-professionals joined the photography team. Many artists began to become obsessed with images, and some directly misappropriated images such as advertisements, posters, and so on. There are also some through the painting of the representation of the picture, reflect different degrees of planarization consciousness. Although oil painting in the West has long experienced the transformation of planarization consciousness, the Chinese oil painting education still continues the realistic painting method of three-dimensional perspective. In the 1990s, Chinese artists tend to be calm and detached. Oil painting education in the 21 century not only strengthens international communication and cooperation, but also adheres to the consciousness of Chinese cultural subject. Chinese contemporary oil painting planarization consciousness, which has a certain national heritage, also conforms to the international trend, but also truly reflects social life, its existence makes us have reason to believe that oil painting will coexist with other media for a long time. Together, it enriches our visual world.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：J213

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