论中西方油画肖像艺术中的“具象”与“意象”的精神意义
发布时间：2018-10-22 11:36
【摘要】：就视觉艺术的意识审美形态而言，来源于历史经验价值的积累与视觉感观文化的传承，中西方对此，基于哲学思维理论层面的认识并无本质差别，只是二者的侧重点有所偏差。中国的美术学注重“意象”的表达方式，讲究以事实为基础所衍生出的带有作者主观情感，寄托精神的意境。西方的美术思维及审美则偏向对于具体细节如实刻画的秉承，其强调客观物质世界的艺术再现，追求严谨、务实的“具象”写实创作体验。中西方的艺术基于物质文明、精神文明的发展而不断变化，符合时代性、审美要求的艺术形态被赋予了新的活力与含义。即使如此，文化间的差异性，，经济发展水平的差别，政治体制的不同，物质存在基础的区别造就了东西方美术学和而不同的艺术表达手法，对待客观物质与精神追求的差异化演变。 全球化的趋势改变了世界的交流方式，也为中西方艺术形态、意识层面乃至文化间的交互创造了优越的时代条件。双方在不断的接触、吸收、借鉴、博弈间寻求发展。这时的中国美术实践活动多围绕着西方“具象”物态、创作思维、色彩语言编制所展开。与此同时，西方艺术则热忱于挖掘中国特色的“形式”之美，“精神”之美以及“玄幻”之美，并移植于西方美术学绘画研究中，力求感官性地再现。 “具象”与“意象”的探讨与其说是一场中西方审美视角的博弈，还不如说是时代环境背景下精神层面进行选择的一个过程。“具象”与“意象”成为中国美术学科研究中的一类分支，判别了近现代以来中国美术，尤其是中国油画的发展方向。“具象”的选择沿袭了西方写实表现手法的创作概念，迎合了中国社会发展阶段对事物本真实质的追求。而“意象”的传承，更多地表达为中国传统艺术理念与西方时尚艺术潮流意识的结合，是一种创造性的艺术表达。 本文从肖像油画这一分支为切入点，产生了对“具象”油画与“意象”油画表现风格的认识，通过对具象油画的现状与价值加以分析，探究二者之间形成的历史，可以追本溯源到“具象”与“意象”的本质特征。对于“具象艺术”的细节把握、“意象艺术”的境界追求是肖像油画时代特征的内涵所需。当代中国油画面临多元化的艺术风尚，外来文化的精神冲击，如何在继承本民族传统绘画技法的基础上大胆突破，融合创新是中国新油画的发展问题。
[Abstract]:As far as the conscious aesthetic form of visual art is concerned, it originates from the accumulation of historical experience value and the inheritance of visual perception culture. There is no essential difference between China and the West on the basis of philosophical thinking theory, but the emphasis of the two is deviated. Chinese art studies pay attention to the expression of "image", pay attention to the artistic conception with the subjective emotion and the spirit of the author derived from the fact. Western art thinking and aesthetics tend to stick to the truthful depiction of specific details, emphasizing the artistic reproduction of the objective material world, and pursuing rigorous and pragmatic "concrete" realistic writing experience. Chinese and Western art is based on the material civilization, the development of spiritual civilization and constantly changing, in line with the times, aesthetic requirements of the art form has been given new vitality and meaning. Even so, differences between cultures, differences in economic development levels, differences in political systems, and differences in the basis of material existence have created the artistic expression techniques of East and West Fine Arts in harmony with each other. To treat the objective material and spiritual pursuit of the different evolution. The trend of globalization has changed the way of communication in the world, and has also created favorable conditions for the interaction of Chinese and Western art, consciousness and even culture. The two sides are in constant contact, absorption, reference, game between the search for development. At this time, Chinese art practice mostly revolves around the western "figurative" material state, creative thinking and color language compilation. At the same time, Western art is devoted to exploring the beauty of "form", "spirit" and "mystery" of Chinese characteristics, and transplanted into the study of western art painting, striving to reproduce sensuously. The discussion of "figurative" and "Image" is not so much a game of aesthetic perspective between China and the West as a process of spiritual selection in the context of the environment of the times. "figurative" and "Image" have become a branch of Chinese art research, which distinguishes the development direction of Chinese art since modern times, especially in Chinese oil painting. The choice of "figurative" follows the western concept of realistic expression and caters to the pursuit of the essence of things at the stage of Chinese social development. The inheritance of "image" is more expressed as the combination of Chinese traditional art concept and western fashion art trend consciousness, which is a creative artistic expression. From the perspective of the branch of portrait oil painting, this paper gives rise to the understanding of the expressive style of "concrete" oil painting and "image" oil painting, analyzes the present situation and value of concrete oil painting, and probes into the history of the formation between them. It can be traced back to the essential characteristics of "concrete" and "image". To grasp the details of "figurative art", the realm pursuit of "image art" is necessary for the connotation of the characteristics of the era of portrait painting. Contemporary Chinese oil painting is faced with the diversified artistic fashion and the spiritual impact of foreign culture. How to make bold breakthrough on the basis of inheriting the traditional painting techniques of this nation and how to merge and innovate are the development problems of Chinese new oil painting.
【学位授予单位】：南昌大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
本文编号：2287044
[Abstract]:As far as the conscious aesthetic form of visual art is concerned, it originates from the accumulation of historical experience value and the inheritance of visual perception culture. There is no essential difference between China and the West on the basis of philosophical thinking theory, but the emphasis of the two is deviated. Chinese art studies pay attention to the expression of "image", pay attention to the artistic conception with the subjective emotion and the spirit of the author derived from the fact. Western art thinking and aesthetics tend to stick to the truthful depiction of specific details, emphasizing the artistic reproduction of the objective material world, and pursuing rigorous and pragmatic "concrete" realistic writing experience. Chinese and Western art is based on the material civilization, the development of spiritual civilization and constantly changing, in line with the times, aesthetic requirements of the art form has been given new vitality and meaning. Even so, differences between cultures, differences in economic development levels, differences in political systems, and differences in the basis of material existence have created the artistic expression techniques of East and West Fine Arts in harmony with each other. To treat the objective material and spiritual pursuit of the different evolution. The trend of globalization has changed the way of communication in the world, and has also created favorable conditions for the interaction of Chinese and Western art, consciousness and even culture. The two sides are in constant contact, absorption, reference, game between the search for development. At this time, Chinese art practice mostly revolves around the western "figurative" material state, creative thinking and color language compilation. At the same time, Western art is devoted to exploring the beauty of "form", "spirit" and "mystery" of Chinese characteristics, and transplanted into the study of western art painting, striving to reproduce sensuously. The discussion of "figurative" and "Image" is not so much a game of aesthetic perspective between China and the West as a process of spiritual selection in the context of the environment of the times. "figurative" and "Image" have become a branch of Chinese art research, which distinguishes the development direction of Chinese art since modern times, especially in Chinese oil painting. The choice of "figurative" follows the western concept of realistic expression and caters to the pursuit of the essence of things at the stage of Chinese social development. The inheritance of "image" is more expressed as the combination of Chinese traditional art concept and western fashion art trend consciousness, which is a creative artistic expression. From the perspective of the branch of portrait oil painting, this paper gives rise to the understanding of the expressive style of "concrete" oil painting and "image" oil painting, analyzes the present situation and value of concrete oil painting, and probes into the history of the formation between them. It can be traced back to the essential characteristics of "concrete" and "image". To grasp the details of "figurative art", the realm pursuit of "image art" is necessary for the connotation of the characteristics of the era of portrait painting. Contemporary Chinese oil painting is faced with the diversified artistic fashion and the spiritual impact of foreign culture. How to make bold breakthrough on the basis of inheriting the traditional painting techniques of this nation and how to merge and innovate are the development problems of Chinese new oil painting.
【学位授予单位】：南昌大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
【参考文献】
相关期刊论文 前3条
1 段飞;;意象化——中国当代油画语言的精神回归[J];大艺术;2007年01期
2 李杰;;“成教化,助人伦”——试论中国传统肖像画的主要功能[J];大众文艺;2010年04期
3 谢九生;;写意油画用笔的书法意识[J];大众文艺;2010年20期
本文编号：2287044
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