论画家潘玉良在“自画像”系列中的情感表达之孤独

发布时间：2018-01-23 14:18

本文关键词： 自画像自我认知观自我表达孤独感原动力　出处：《河北师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：20世纪早期，随着西方文化的传播，艺术思潮的涌入，久已闭塞的中国艺术人，睁开眼睛看世界，西方文化以快速和汹涌之势席卷东方，因此在绘画表达上中国人开始接受西画带来的思想精神，在西方哲学，文化的交流融合中，中国的艺术开始关注自身，这也与中国人的个人觉醒不可分的，而女性画家在在这些文化的渗透和影响下，对于自身的认识，对于人生观的形成，关注自身，关注自我，关注当下的生存状态，因此在绘画表达上有了全新探索，从个人在生理、心理、家庭、社会等各种角色的转化之下，都有了全新的判断，由此交互呈现出了女性本有的状态。新中国解放以来，女性地位的提高和解放，女性在自我思考上才有了独立的机会，女性艺术家也才能有一些自我认识的勇气，才有了“我是我自己”的鲜明而个性的自我认知观，也才有了女性画家大胆的自我观照与自我表达的可能，一幅自画像我们可以看到一个女人在特定时期、特定年代、特定生存状态下的自我观察与记录。在一幅自画像中我们可以目击每一位艺术家的微妙的、复杂的、潜在的文化心里和个人精神的表征与内容。在思想观念以及绘画观念形成时，每一位艺术家又具有独特的表达方式与创作环境，绘画中的孤独力与创造力是每一幅优秀作品不可否认的最初原动力，每一位优秀的艺术家，也是一位孤独的探索家，在绘画与创造的同时都是与孤独相伴中思考，即便是最初的思想碰撞与震撼体验之后，最终在绘画之时，都将是一段孤独的心灵之语，可以说在艺术家的世界里孤独感并不是一个消极的语境，而是每一次创作之初的原动力。由此从女性自画像的研究入手，从而进一步探讨有关中国20世纪中国女性画家在绘画表达中的自我观照及表达图像的梳理和展示，从而传达自身感情及精神表征的论题，这是我想要写此篇论文的观点和出发点以及及论文表述的定位。
[Abstract]:In 20th century, with the spread of western culture and the influx of artistic thoughts, Chinese artists who had been blocked for a long time opened their eyes to see the world. Western culture swept across the East with a rapid and turbulent trend. Therefore, the Chinese people began to accept the spirit of Western painting in the expression of painting. In the exchange of western philosophy and culture, Chinese art began to pay attention to itself, which is inseparable from the personal awakening of the Chinese. Under the influence of these cultures, female painters pay attention to their own understanding, to the formation of outlook on life, to themselves, to themselves, to the living state of the present. Therefore, there is a new exploration in the expression of painting. Under the transformation of various roles, such as physiology, psychology, family, society and so on, the individual has a new judgment. Since the liberation of the people's Republic of China, with the advancement and liberation of the status of women, women have had the independent opportunity in self-thinking, and the female artists can have some courage of self-knowledge. Only then has the "I am myself" the distinct and individuality self-cognition view, also had the female painter bold self-reflection and the self-expression possibility, a self-portrait we can see a woman in the specific time. In a self-portrait, we can witness the subtle, complex, potentially cultural and spiritual representations and contents of every artist. In the formation of ideas and painting concepts, each artist has a unique expression and creation environment, the loneliness and creativity in painting is the initial motive force of every outstanding work. Every outstanding artist, is also a lonely explorer, in painting and creation is accompanied with lonely thinking, even after the initial thought collision and shock experience, finally in painting. It can be said that loneliness is not a negative context in the artist's world, but the motive force at the beginning of each creation. Starting with the study of female self-portraits, this paper further discusses the self-reflection of Chinese female painters in 20th century and the carding and displaying of expressive images. This is the point of view and the starting point and the position of the paper I want to write.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205

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