庞茂琨油画的“场景”图像研究

发布时间：2018-01-20 15:08

本文关键词： 庞茂琨 “场景”图像当代　出处：《西南大学》2017年硕士论文　论文类型：学位论文

【摘要】：进入90年代以来,随着改革开放和市场化经济的推进,当代中国的经济、文化得到了长足的发展。科技的进步、社会的转型、西方文化思潮的涌入,这些都改变了人们单一的思维模式。在经历了“85美术新潮”的思想启蒙后,艺术创作观念发生了巨大的转变,许多当代油画家开始远离“宏大叙事”,将视角集中在社会的现实问题,艺术家开始以自己独特的艺术思维介入当代社会。以“政治波普”、“玩世现实主义”、“后生代”为代表的绘画潮流层出不穷。在风格各异的当代艺术的“夹击”下,传统古典写实油画在某种程度上依然处于边缘状态,如何实现古典写实油画的当代转型就成为了许多艺术家不可回避的一个问题。作为一个独特的个案,庞茂琨近年的油画创作为这个问题提供了一个有益的参照。作为当代写实油画的代表人物之一,庞茂琨的作品在全国享有较为重要的影响力。从附中到研究生,四川美院十年的系统训练造就了庞茂琨扎实的写实技艺。无论是早期的乡土绘画,还是90年代以都市女性、家人朋友为题材的创作,精湛的古典技法和唯美恬静的审美理想一直是其创作最大的特点。但是,庞茂琨并不满足于固守既有的创作模式,而是置身于时代的发展与变革,不断探索古典绘画语言在当代的表达方式,近年来诸如《邂逅》、《镜花缘》等创作标志着庞茂琨绘画风格的巨大转变。在延续以往古典绘画语言的同时融入了更为多元的艺术表现手法。挪用、并置、超现实这些以往从未采用的表现语言开始大量出现,并取得了很好的效果。当代艺术一个重要的特点就是强调艺术对生活的介入,艺术不仅仅止于形式语言的内部“游戏”,而应当立足于现实文化背景,参与到社会的进程中,并以艺术的方式思考。在这一点上,庞茂琨较好地实现了平衡,在保持自己成熟的绘画语言的同时又不丧失对社会的思考。本文立足于庞茂琨近作中的“场景”图像,从画面形式结构、表现手法的研究出发,力图揭示出隐藏在图像背后画家的隐喻和观念,探讨庞茂琨油画的“场景”图像对当代中国写实油画创作的借鉴意义。本文共分为三章:第一章是对庞茂琨油画语言形成的背景分析,主要从85美术运动、消费与图像文化、现代和后现代图式的影响几个方面入手,并对“场景”图像的概念进行阐释,介绍庞茂琨早期绘画作品中的“场景”图像。第二章是对庞茂琨油画“场景”图像的具体解读,以“剧场”、“镜像”、“游观”三个系列为重点,阐述挪用、并置、超现实等表现手法在庞茂琨绘画中的具体运用以及画面背后蕴含的隐喻和观念。第三章是庞茂琨作品的“场景”图像对当代中国油画创作的启示。
[Abstract]:Since 90s, with the reform and opening up and the promotion of market-oriented economy, the economy and culture of contemporary China have been greatly developed, the progress of science and technology, the transformation of society, the influx of Western cultural trends. These have changed the single mode of thinking of people. After experiencing the enlightenment of "85 art trend", the concept of artistic creation has undergone a huge change, and many contemporary oil painters begin to stay away from "grand narration". Focusing on the social reality, the artist began to intervene in the contemporary society with his own unique artistic thinking, with "political Popper", "play the world realism". "later generation" as the representative of the trend of painting endlessly. In different styles of contemporary art "pinch", the traditional classical realistic oil painting is still in a marginal state to some extent. How to realize the contemporary transformation of classical realistic oil painting has become an unavoidable problem for many artists. As a unique case. Pang Maokun's oil paintings in recent years provide a useful reference for this issue. As one of the representative figures of contemporary realistic oil painting, Pang Maokun's works enjoy more important influence in the whole country, from the attached middle school to the graduate school. Ten years of systematic training in Sichuan Academy of Fine Arts has made Pang Maokun's down-to-earth skills. Whether it is the early local painting or 90s to urban women, family and friends as the subject matter of creation. Exquisite classical techniques and aesthetic ideal of beauty and tranquility have always been the greatest characteristics of his creation. However, Pang Maokun is not satisfied with the existing creation mode, but in the development and change of the times. To explore the expression of classical painting language in the contemporary, such as "encounter" in recent years. "Mirror Flower margin" and other creation marks a great change in Pang Maokun's painting style. In the continuation of the classical painting language at the same time into a more diversified artistic expression, misappropriation, juxtaposition. Surrealism, which has never been used in the past, began to appear in large numbers and achieved good results. One of the important features of contemporary art is to emphasize the involvement of art in life. Art not only lies in the internal "game" of formal language, but should be based on the realistic cultural background, participate in the process of society and think in the way of art. On this point, Pang Maokun has achieved a better balance. This paper bases on the "scene" image in Pang Maokun's recent works, starting from the study of the structure of the picture form and the method of expression. It tries to reveal the metaphors and concepts of the painters hidden behind the images. This article is divided into three chapters: the first chapter is the background analysis of the oil painting language, mainly from 85 art movement. Consumption and image culture, the influence of modern and post-modern schemata, and the concept of "scene" image are explained. This paper introduces the "scene" images in Pang Maokun's early paintings. The second chapter is about the concrete interpretation of the "scene" images of Pang Maokun oil paintings, focusing on the series of "Theater", "Mirror" and "the View of Tour". Juxtaposition, surrealism and other expression techniques in Pang Maokun's painting, as well as the metaphorical and concept behind the screen. Chapter three is the inspiration to contemporary Chinese oil painting from the "scene" image of Pang Maokun's works.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213

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