油画本源审美下我的创作理念刍议

发布时间：2018-03-21 21:25

本文选题：现当代艺术　切入点：审美　出处：《四川师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：摘要：视觉审美的第一性和表象性与精神审美的第二性和本质性,是绘画艺术自出现至今都不可颠覆的两大特征。油画作为绘画艺术的一大支脉,更是遵守着这一原则。然而作为视觉艺术的架上油画发展至今,却出现了两种区分截然的情况：首先,艺术家过分的强调视觉感受,为了满足感官欲望和工艺装饰作用,使作品走向了单一的视觉审美。这种创作原则导致作品缺乏应承载的思想和内涵,作品趋于矫饰和肤浅;其次,艺术家只注重个体观念与主观意识的表达,而放弃了绘画作品视觉审美的第一性特征,转而走向了单纯观念表达的载体,作品视觉体验呈现出不知所云,莫名其妙的状况。这种创作原则致使作品晦涩难懂,只能通过文本解释或必要的作品说明,才能让观者试着去理解画家所传达的个人审美追求。我认为这两者的偏废都是片面而不可取的。尤其在现代社会,如果说视觉感官的满足还能牵强的认为是美术作品功用之一的体现,那后者的只注重所谓的“道”(且不论这个“道”的真伪高低)即艺术家只注重个人观念表达,而摒弃了“器”即放弃了对画面形式美感这一“载道之物”的关注,这种创作原则的大行其道更让架上油画走向歧途。在中国,油画发展大致粗略经历了三个时期。首先,表达宫廷贵族等东方题材元素写实时期(明末至清朝,西方宫廷画师、学徒及油画作坊的皇室贵族油画定制时期);其次,袭承欧洲古典写实技巧并与前苏联社会主义写实主义手法结合时期(民国时代到“85美术新潮”前)；第三,油画流派及其风格五花八门,画家“百家争鸣,百花齐放”时期(改革开放及“85美术新潮”后至今)。油画作为西方文化的一种类别形式,来到东方中国已经百余年。在中国这片土地,中国油画人始终摆脱不了中国传统文化思想及其本土的东方审美情节的对这一“泊来品”——油画的影响。油画的中国精神化、油画民族化始终也是中国油画发展绕不开的命题。
[Abstract]:Absrtact: the first and appearance of visual aesthetics and the second and nature of spiritual aesthetics are two characteristics of painting art which can not be subverted since its appearance. As a branch of painting art, oil painting adheres to this principle. However, as the visual art of the development of oil painting on the shelf, but there are two distinct situations: first, the artist too much emphasis on visual feelings, in order to meet the sensual desire and decorative role, This kind of creation principle leads to the lack of the thought and connotation which should be carried, and the works tend to be cosmetic and superficial. Secondly, the artist only pays attention to the expression of individual idea and subjective consciousness. Instead of the primary characteristics of visual aesthetics in painting works, they have moved towards the carrier of pure expression of ideas. The visual experience of works presents a state of confusion and inexplicable. This creative principle makes the works obscure and difficult to understand. Only through the text explanation or the necessary work explanation, can the viewer try to understand the individual aesthetic pursuit conveyed by the painter. I think both of them are one-sided and not desirable. Especially in modern society, if we say that the satisfaction of the visual senses can be regarded as one of the functions of the art works, Then the latter only pays attention to the so-called "Tao" (regardless of whether this "Tao" is true or false) that is, the artist only pays attention to the expression of personal ideas, and abandons the "device", that is, giving up the attention to the aesthetic sense of the form of the picture as "the object of Tao". This kind of creation principle is popular, let the oil painting on the shelf go astray even more. In China, the development of oil painting has roughly experienced three periods. First, the period of realistic expression of oriental elements such as court aristocracy (from the late Ming to the Qing Dynasty, the period of painting by western court painters, apprentices and oil painting workshops); secondly, Following the classical realistic techniques of Europe and combining with the socialist realism techniques of the former Soviet Union (the period of the Republic of China to the "85 Art trend"; third, the painting schools and their styles are varied, the painters "a hundred schools of thought contend," A hundred flowers bloom "period (reform and opening up and" 85 art trend "since then. As a form of Western culture, oil painting has been in China for more than a hundred years. Chinese oil painting people can not get rid of the influence of Chinese traditional cultural thought and their native oriental aesthetic plot on this "poor-come" -oil painting. The Chinese spirit of oil painting and the nationalization of oil painting are always the unbreakable proposition of the development of Chinese oil painting.
【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213

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