从石冲《今日景观》看绘画与装置的融合

发布时间：2018-01-14 10:47

本文关键词：从石冲《今日景观》看绘画与装置的融合　出处：《陕西师范大学》2016年硕士论文　论文类型：学位论文

【摘要】：上个世纪八、九十年代,中国艺术受到了外来新潮艺术形式的影响,出现了《今日景观》这种风格独特的艺术作品,该作品以装置化的形象呈现在架上绘画中,这种形式的出现启发了笔者对于绘画创新的意识,从而对作品中绘画与装置的融合展开研究。本文通过探讨装置对绘画的影响和装置表现语言同油画表现形式的融合,寻找在油画创作中观念传达的方式与形式创新的可能,以及新视觉体验形成的可能。在简析装置艺术本土化的同时,启示我们在架上绘画的创作中要善于吸取装置、影像等其他新的艺术形式,同时对现实生活的思考,使当代绘画创作的观念传达更为深刻,其表现形式更加丰富。全文共有五章,可分为四个部分。其中第一章为本文的第一部分,主要对本论题的研究背景、相关领域的研究现状、研究内容、研究目的与意义进行阐述。第二章为文章的第二部分,通过对大量书籍、学刊等资料的翻阅,以石冲的油画作品《今日景观》中的装置元素为线索,先是总结了中国九十年代油画的发展变革,表达了油画想要贴近生活,吸收外来艺术的愿望,并且对照相写实主义的传入和影响进行梳理,总结了装置艺术在进入中国之后的发展历程,并着重对装置艺术的“中国方式”做了详细的分析,通过从油画家被影响后的创作观念和形式的转变引出时代背景下绘画与装置融合的必然性。第三章即是文章的第三部分,主要通过描述《今日景观》的艺术形式和风格特征,分析它极为写实的绘画风格和丰富的装置表现元素,通过比较它们之间的语言特点、材质特点,制作方式和环境条件,结合同类艺术作品的补充分析,推导绘画与装置的语境转换直到融合的过程。并通过以上的论据分析《今日景观》的融合方式,以及其他风格类型的延伸。第四章即是文章的第四部分,这一章主要论述从《今日景观》展开的联想,包括该作品于传统形式的突破,通过对于装置作为观念具象化的呈现形式进行阐述,解释了石冲在绘画创作中的意图,引申出当代艺术以观念为先的特征,论证了绘画与装置的融合,符合时代发展的潮流。接着对“新绘画”作品中装置语言的跨界融合,绘画作品在展示形式上的融合展开了联想,最后阐述了该形式对笔者油画艺术创作的启发。第五章是对全文的总结和归纳,对发展中国本土的当代艺术进行了畅想和展望,为今后的艺术理想指明了方向。
[Abstract]:From 0th century to 90s, the Chinese art was influenced by the new art form, and the unique style of "Landscape of Today" appeared, which was presented in the frame painting with the image of installation. The emergence of this form inspired the author's consciousness of painting innovation. This paper discusses the influence of the device on the painting and the fusion of the expression language of the device and the expression form of the oil painting. Looking for the possibility of the way and form of concept communication in oil painting creation, as well as the possibility of the formation of new visual experience. At the same time of analyzing the localization of installation art. Apocalyptic we should be good at absorbing devices, images and other new art forms in the creation of paintings on the shelf, and at the same time, thinking about the real life, so that the concept of contemporary painting to convey more profound. The full text consists of five chapters, which can be divided into four parts. The first chapter is the first part of this paper, mainly about the research background of this topic, the research status quo of related fields, and the research content. The second chapter is the second part of the article, through the reading of a large number of books, journals and other materials, taking Shichong's oil painting "Landscape Today" as the clue. First summarized the development and transformation of Chinese oil painting in 90s, expressed the oil painting want to close to life, absorb the desire of foreign art, and the introduction and impact of photographic realism comb. This paper summarizes the development course of installation art after entering China, and makes a detailed analysis on the "Chinese way" of installation art. Through the change of creation idea and form after the oil painter was influenced, the necessity of the fusion of painting and installation under the background of the times was elicited. The third chapter is the third part of the article. Mainly through describing the art form and style characteristics of "Landscape Today", it analyzes its very realistic painting style and rich device performance elements, by comparing their language characteristics, material characteristics. Production methods and environmental conditions, combined with the complementary analysis of similar works of art, deduces the context of painting and installation until the process of fusion. And through the above arguments to analyze the fusion of "Landscape Today". As well as the extension of other style types. Chapter 4th is the 4th part of the article, this chapter mainly discusses the association from "Landscape Today", including the breakthrough in the traditional form of the work. Through expounding the device as the presentation form of the concept, explaining the intention of Shi Chong in the painting creation, extending the characteristics of contemporary art with the idea as the first, and demonstrating the fusion of painting and installation. In line with the trend of the development of the times. Then the "new painting" in the installation of language cross-border fusion, painting in the display of the fusion of the form began to associate. Finally, this paper expounds the inspiration of this form to the author's oil painting art creation. Chapter 5th is a summary and induction of the full text, and the development of contemporary art in China is reflected and prospected, which points out the direction for the future artistic ideal.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J213

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