中国当代油画“陌生化”研究
发布时间：2018-11-27 17:55
【摘要】：关于“陌生化”①,它是由20世纪俄罗斯形式主义创始人之一的什克洛夫斯基提出的美学理论,其内涵就是使描绘对象陌生,通过这种陌生化的处理,来延长观者的审美时间,从而使观者从麻木的状态中清醒过来,重新认识世界。在文学创作中它是作为是一种重要的手段存在的,而绘画作为一门视觉艺术,“陌生化”的存在更多表现在视觉上带来的陌生感。 纵观中国的油画史,自改革开放以来,特别是“85美术新潮”运动的爆发,中国的油画发生了巨大的变化,西方现代艺术作为强势的话语权进入中国,中国的油画家们开始了学习和照搬西方现代艺术的路程,油画在这个时期展现出与以往不同的形式,这种对西方绘画风格和样式的照搬,促使了“陌生化”的出现。时间到了90年代,艺术家不再一味照搬西方艺术,而是通过自身的体验去反映现实生活,客观再现现实的传统技艺已成为过去,他们通过各种语言方式关注当下,关注当代人的生存状态和生活环境,在这些因素的触及下,其中有大批画家的作品就呈现出一种超现实、反常态、反传统视觉体验的“陌生化”趋势。 论文主要分为：“陌生化”美学理论、“陌生化”与中国当代油画、中国当代油画“陌生化”的实现途径、“陌生化”对中国当代油画的价值和启示,四个部分。“陌生化”美学理论中,在阐述了“陌生化”理论的基础上,主要界定了绘画中的“陌生化”以及它在西方现代绘画中的完美表现,最后简要分析了创作者和接受者角度的“陌生化”；第二部分和第三部分是论文的重点章节,在“陌生化”与中国当代油画中,主要从两个方面进行研究：1.以《中国油画史》为原始资料,按时间进行梳理,分析“陌生化”在中国当代油画中的发展,2.主要阐述中国当代油画出现“陌生化”的两个原因,在中国当代油画“陌生化”的实现途径中,主要从五个方面,对中国当代最具“陌生化”代表的作品进行分析研究；第四部分,通过之前的研究,试图找到“陌生化”对中国当代油画的价值以及启示。这四个部分最终形成“理论——表现——实现——启示”的完整论证。 中国当代油画的“陌生化”现象是不容忽视的,它记录了从20世纪80年代中期开始,中国的艺术家们以一种陌生化的艺术来反映对当下社会现实的理解,研究其在中国当代油画的发展及呈现是具有一定意义的。
[Abstract]:As for "defamiliarization" 1, it is an aesthetic theory put forward by Shklovsky, one of the founders of Russian formalism in the 20th century. The connotation of the theory is to make the depiction object strange. Through this defamiliarization treatment, the aesthetic time of the viewer can be prolonged. So that the viewer from the state of numbness to wake up, re-understanding the world. In literary creation, it exists as an important means, and painting as a visual art, the existence of "strangeness" more in the visual sense of strangeness. Throughout the history of oil painting in China, since the reform and opening up, especially the outbreak of the "85 Fine Arts New trend" movement, great changes have taken place in Chinese oil painting. Western modern art has entered China as a powerful discourse power. Chinese oil painters began to learn and copy the western modern art, oil painting in this period showed a different form than before, this kind of Western painting style and style copy, promoted the "defamiliarization". In the 1990s, artists no longer blindly copied Western art, but reflected real life through their own experience. The traditional art of objectively reproducing reality has become a thing of the past. They pay attention to the present through various language ways. Under the touch of these factors, a large number of painters' works show a trend of "defamiliarization" of surreal, abnormal and anti-traditional visual experience. The thesis is divided into four parts: aesthetic theory of "defamiliarization", "defamiliarization" and contemporary Chinese oil painting, ways of realizing "defamiliarization" of contemporary Chinese oil paintings, and the value and enlightenment of "defamiliarization" to contemporary Chinese oil paintings. In the aesthetic theory of "defamiliarization", on the basis of expounding the theory of "defamiliarization", it mainly defines the "strangeness" in painting and its perfect performance in modern western painting. Finally, the author briefly analyzes the "defamiliarization" between the creator and the recipient. The second part and the third part are the key chapters of the thesis, in the "defamiliarization" and contemporary Chinese oil painting, mainly from two aspects: 1. Taking "the History of Chinese Oil painting" as the original material and combing by time, this paper analyzes the development of "strangeness" in contemporary Chinese oil painting. This paper mainly expounds the two reasons for the appearance of "defamiliarization" in contemporary Chinese oil painting. In the realization of "defamiliarization" of contemporary Chinese oil paintings, it mainly analyzes and studies the most representative works of Chinese contemporary "strangeness" from five aspects. The fourth part, through the previous research, tries to find the value and enlightenment of "strangeness" to contemporary Chinese oil painting. These four parts form the complete argumentation of "Theory-performance-realization-revelation". The phenomenon of "strangeness" in contemporary Chinese oil painting cannot be ignored. It records that since the mid-1980s, Chinese artists have reflected their understanding of the present social reality with a kind of defamiliarization art. It is of certain significance to study the development and presentation of Chinese contemporary oil painting.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
本文编号：2361602
[Abstract]:As for "defamiliarization" 1, it is an aesthetic theory put forward by Shklovsky, one of the founders of Russian formalism in the 20th century. The connotation of the theory is to make the depiction object strange. Through this defamiliarization treatment, the aesthetic time of the viewer can be prolonged. So that the viewer from the state of numbness to wake up, re-understanding the world. In literary creation, it exists as an important means, and painting as a visual art, the existence of "strangeness" more in the visual sense of strangeness. Throughout the history of oil painting in China, since the reform and opening up, especially the outbreak of the "85 Fine Arts New trend" movement, great changes have taken place in Chinese oil painting. Western modern art has entered China as a powerful discourse power. Chinese oil painters began to learn and copy the western modern art, oil painting in this period showed a different form than before, this kind of Western painting style and style copy, promoted the "defamiliarization". In the 1990s, artists no longer blindly copied Western art, but reflected real life through their own experience. The traditional art of objectively reproducing reality has become a thing of the past. They pay attention to the present through various language ways. Under the touch of these factors, a large number of painters' works show a trend of "defamiliarization" of surreal, abnormal and anti-traditional visual experience. The thesis is divided into four parts: aesthetic theory of "defamiliarization", "defamiliarization" and contemporary Chinese oil painting, ways of realizing "defamiliarization" of contemporary Chinese oil paintings, and the value and enlightenment of "defamiliarization" to contemporary Chinese oil paintings. In the aesthetic theory of "defamiliarization", on the basis of expounding the theory of "defamiliarization", it mainly defines the "strangeness" in painting and its perfect performance in modern western painting. Finally, the author briefly analyzes the "defamiliarization" between the creator and the recipient. The second part and the third part are the key chapters of the thesis, in the "defamiliarization" and contemporary Chinese oil painting, mainly from two aspects: 1. Taking "the History of Chinese Oil painting" as the original material and combing by time, this paper analyzes the development of "strangeness" in contemporary Chinese oil painting. This paper mainly expounds the two reasons for the appearance of "defamiliarization" in contemporary Chinese oil painting. In the realization of "defamiliarization" of contemporary Chinese oil paintings, it mainly analyzes and studies the most representative works of Chinese contemporary "strangeness" from five aspects. The fourth part, through the previous research, tries to find the value and enlightenment of "strangeness" to contemporary Chinese oil painting. These four parts form the complete argumentation of "Theory-performance-realization-revelation". The phenomenon of "strangeness" in contemporary Chinese oil painting cannot be ignored. It records that since the mid-1980s, Chinese artists have reflected their understanding of the present social reality with a kind of defamiliarization art. It is of certain significance to study the development and presentation of Chinese contemporary oil painting.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J213
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