从海派画家看中西绘画的融合
发布时间：2018-07-13 18:41
【摘要】：十九世纪中期，中国处于封建制度的统治下，受帝国主义列强的侵略，经济下滑，民不聊生，整个社会环境动荡不安。然而，在这种大环境的影响下，东方之城——上海，却涌动一批具有创新意识的艺术家们。他们以赵之谦、虚谷、吴昌硕等有代表性人物为首，开启了一场艺术的传承与创新的“战役”。这场“战役”中产生了一种绘画流派，历史上称之为海上画派或海派。海派，没有在动乱社会情境下受西方艺术的侵蚀而灭亡，反而将西方的元素合理应用，与本土元素有利结合，形成了新颖的艺术风格，，昭示着中国绘画的发展方向和未来的前途。 本文的写作共分五部分，整体以海派绘画的特点为主线展开论述。第一部分就选题意义、研究现状、研究方法进行简单的概括。第二部分集中分析海派绘画形成的时代背景，其中包括政治背景、经济背景、文化背景，从而得出海派绘画形成的原因。第三部分列举了三位代表性画家，分别是赵之谦、虚谷、吴昌硕，对他们的画作进行品鉴、解读，通过作品总结出他们各自的绘画风格，讨论他们在创作过程中继承与创新的方法，着重探究在对西方绘画元素方面的应用。第四部分，以前面分析的理论为依据，找出中国绘画对西方绘画借鉴的可行性，以及具体到对西方绘画的那些元素进行借鉴。第五部分，对中西绘画的融合得出结论，阐述中西绘画并非水火不容，而是可以相互借鉴的，并总结出融合的方法和手段。
[Abstract]:In the middle of the 19th century, under the rule of feudalism, China was invaded by imperialist powers, its economy declined, the people were in dire straits, and the whole social environment was unstable. However, under the influence of this environment, Shanghai, the city of the East, has attracted a group of innovative artists. Led by Zhao Zhiqian, Huigu, Wu Changshuo and other representative figures, they launched an art inheritance and innovation campaign. The campaign produced a school of painting, historically known as the Sea School or the Sea School. Instead of being eroded by Western art in the turbulent social context, the Shanghai school made rational use of Western elements and combined them favourably with local elements, thus forming a novel artistic style. It shows the direction of development and the future of Chinese painting. The writing of this paper is divided into five parts, with the characteristics of Shanghai painting as the main line. The first part of the significance of the topic, research status, research methods for a simple summary. The second part focuses on the background of the formation of Shanghai School painting, including the political background, economic background, cultural background, so as to obtain the reasons for the formation of Shanghai School painting. The third part enumerates three representative painters, namely Zhao Zhiqian, Huigu, Wu Changshuo, carries on the appraisal to their paintings, unscrambles, through the work summarizes their respective painting style, This paper discusses their methods of inheritance and innovation in the process of creation, focusing on their application to the elements of Western painting. The fourth part, based on the theory of the previous analysis, finds out the feasibility of drawing lessons from Chinese painting to Western painting, as well as the specific elements of Western painting. The fifth part, draw a conclusion to the fusion of Chinese and western painting, expound that Chinese and western painting is not incompatible, but can learn from each other, and sum up the method and means of fusion.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.1
本文编号：2120386
[Abstract]:In the middle of the 19th century, under the rule of feudalism, China was invaded by imperialist powers, its economy declined, the people were in dire straits, and the whole social environment was unstable. However, under the influence of this environment, Shanghai, the city of the East, has attracted a group of innovative artists. Led by Zhao Zhiqian, Huigu, Wu Changshuo and other representative figures, they launched an art inheritance and innovation campaign. The campaign produced a school of painting, historically known as the Sea School or the Sea School. Instead of being eroded by Western art in the turbulent social context, the Shanghai school made rational use of Western elements and combined them favourably with local elements, thus forming a novel artistic style. It shows the direction of development and the future of Chinese painting. The writing of this paper is divided into five parts, with the characteristics of Shanghai painting as the main line. The first part of the significance of the topic, research status, research methods for a simple summary. The second part focuses on the background of the formation of Shanghai School painting, including the political background, economic background, cultural background, so as to obtain the reasons for the formation of Shanghai School painting. The third part enumerates three representative painters, namely Zhao Zhiqian, Huigu, Wu Changshuo, carries on the appraisal to their paintings, unscrambles, through the work summarizes their respective painting style, This paper discusses their methods of inheritance and innovation in the process of creation, focusing on their application to the elements of Western painting. The fourth part, based on the theory of the previous analysis, finds out the feasibility of drawing lessons from Chinese painting to Western painting, as well as the specific elements of Western painting. The fifth part, draw a conclusion to the fusion of Chinese and western painting, expound that Chinese and western painting is not incompatible, but can learn from each other, and sum up the method and means of fusion.
【学位授予单位】：渤海大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J209.1
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