对当代内蒙古油画风景诗意化倾向的思考

发布时间：2018-05-24 21:40

本文选题：油画风景 + 诗意化　；参考：《内蒙古师范大学》2013年硕士论文

【摘要】：辽阔无垠的内蒙古高原是北方游牧民族的发祥地,其特殊的地域特色滋润和养育着世代生活在这里的画家们,为他们提供了一种宁静肃穆的诗意空间和优良的精神栖息地。内蒙古油画风景在几代人的辛勤探索下,坚定地走出一条追求诗意化的艺术之路。内蒙古油画风景诗意化倾向其典型特征就是在油画风景创作中自觉追求优雅的诗情诗意；当代的内蒙古油画风景画家自觉的汲取传统艺术精神中的诗意作为自己的创作目标,他们结合中国水墨山水及大写意花鸟所体现的诗情画意,融合西方油画技法,从而创造出兼具东方审美文化底蕴和内蒙古地域特色的油画风景作品。本文主要从当代内蒙古油画风景的诗意化倾向入手,首先通过对其理论成因的考察,认为当代内蒙古油画风景的诗意化倾向是与这片高原的地域特征息息相关；另一方面它源于蒙古民族文化对其产生的积极影响,重视诗性思维的精神核心。其次,画家在与自然的“对话”中体味诗意性。它主要是指画家在对景写生和创作中自觉意识下的自我规范和约束的表现形式,它包括画家自身的修为、内省和对自然界的感悟、体验过程等个人自持的行为准则。换言之,就是指画家自我心灵的历练过程,中国古代画家所谓的“修身”之道。再次,系统分析内蒙古油画风景中诗意化倾向的表现及其特征。内蒙古画家直面自然,不知疲倦地歌颂和描绘这片热土,并且将满腔热情倾注于地域题材与诗化风景中。最后在作品中探寻画作里没有哀怨、没有甜腻,只有平凡、只有朴素、只有优美与壮美般的诗意性。有鉴于此,全文由四个部分构成；一、当代内蒙古油画风景诗意化的理论成因；二、画家在与自然的“对话”中体味诗意性；三、内蒙古油画风景中诗意化倾向的表现及其特征；四、结语
[Abstract]:The vast Inner Mongolia Plateau is the birthplace of the nomadic people in the north. Its special regional features nourish and nurture the painters who have lived here for generations and provide them with a quiet and solemn poetic space and excellent spiritual habitat. Inner Mongolia oil painting landscape in several generations of hard exploration, firmly out of a pursuit of poetic art road. The typical characteristic of the poetic tendency of oil painting landscape in Inner Mongolia is the conscious pursuit of elegant poetic feeling in the oil painting landscape creation; the contemporary Inner Mongolia oil painting landscape painter consciously absorbs the poetic meaning from the traditional artistic spirit as his creative goal. They combined the Chinese ink landscape and large freehand brushwork flowers and birds reflected in the poetry and painting, the integration of Western oil painting techniques, thus creating a combination of Oriental aesthetic culture and Inner Mongolia regional characteristics of oil painting landscape works. This paper mainly starts with the poetic tendency of contemporary oil painting landscape in Inner Mongolia. Firstly, through the investigation of its theoretical causes, the author thinks that the poetic tendency of contemporary oil painting landscape in Inner Mongolia is closely related to the regional characteristics of this plateau. On the other hand, it originated from the positive influence of Mongolian national culture and attached importance to the spiritual core of poetic thinking. Secondly, the painter in the dialogue with nature taste poetic. It mainly refers to the expression forms of self-regulation and restraint under the conscious consciousness of the painter in the painting and creation of the scene. It includes the self-sustaining behavior rules of the painter himself, introspection and understanding of nature, experience process and so on. In other words, it refers to the process of self-cultivation of the artist's mind, which is called "self-cultivation" by ancient Chinese painters. Thirdly, the performance and characteristics of poetic tendency in Inner Mongolia oil painting landscape are analyzed systematically. Nei Mongol painters face nature tirelessly extol and depict this hot land and pour their enthusiasm into regional themes and poetic scenery. Finally, there is no sorrow, no sweetness, only ordinary, simple, graceful and magnificent poetic in the works. In view of this, the full text consists of four parts; First, the theoretical causes of poetic painting in contemporary Inner Mongolia; Second, the painter in the "dialogue" with nature taste poetic; Third, the expression and characteristics of poetic tendency in Inner Mongolia oil painting landscape; IV. Conclusion
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213

【参考文献】