浅谈当代绘画的绘画性和观念性
发布时间：2018-12-11 02:58
【摘要】：伴随着社会经济的迅猛发展,科学技术亦高速发展。随着影像科技的发明应用,绘画的人工劳动渐渐被淡化,传统图像样式的概念开始扩张,自从产生了数码图像例如摄影、录像等形式的艺术,绘画如何与图片拉开距离成为传统艺术的重要特性。从侧重表现物理真实逐渐转向表现为艺术家独特精神的艺术体验。从此艺术史便进入了现代主义时期,形式从画面里彻底地被放大,进而发展成表现艺术家自我的精神观念述说。假设我们说抽象表现主义绘画是现代艺术的鼎盛时期,那波普艺术与超级写实主义绘画的出现,就应当属于是当代艺术的一个转折点。上世纪70年代由于概念艺术的影响,使绘画走向边缘,从而引发了绘画的危机讨论,80年代左右架上绘画艺术在西方各国开始重新受到关注,人们开始思考绘画在后现代语境中的意义和转变。绘画的观念化与绘画性是当代绘画讨论最多的问题,绘画性与观念性的关系如何?绘画在当今的时代将会带来怎样的创造力?诸如此类问题是作为绘画艺术创作者们时常能够探讨的话题,只是为了寻求绘画在图片影像充斥的时代,绘画作为一种艺术表现形式它的存在价值几何。
[Abstract]:With the rapid development of social economy, science and technology also develop at high speed. With the invention and application of image technology, the manual labor of painting was gradually desalinated, and the concept of traditional image style began to expand, since the emergence of digital images such as photography, video and other forms of art, How to draw away from pictures has become an important feature of traditional art. From focusing on the expression of physical reality to the artistic experience of the artist's unique spirit. Since then, art history has entered the modernism period, the form has been magnified completely from the picture, and then developed into the spiritual concept of expressing the artist's self. If we say that abstract expressionism painting is the heyday of modern art, the emergence of pop art and super realism painting should be a turning point of contemporary art. In the 1970s, because of the influence of the concept art, the painting moved to the edge, which led to the crisis discussion of the painting. In the 1980s, the art of painting on the shelf began to receive renewed attention in the western countries. People began to think about the meaning and transformation of painting in the post-modern context. The conceptualization of painting and painting are the most discussed problems in contemporary painting. What is the relationship between painting and idealism? What kind of creativity will painting bring in today's era? Such problems are often discussed by the creators of painting art, only in order to find out the value geometry of painting as a form of artistic expression in the era of picture and image flooding.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205
本文编号：2371736
[Abstract]:With the rapid development of social economy, science and technology also develop at high speed. With the invention and application of image technology, the manual labor of painting was gradually desalinated, and the concept of traditional image style began to expand, since the emergence of digital images such as photography, video and other forms of art, How to draw away from pictures has become an important feature of traditional art. From focusing on the expression of physical reality to the artistic experience of the artist's unique spirit. Since then, art history has entered the modernism period, the form has been magnified completely from the picture, and then developed into the spiritual concept of expressing the artist's self. If we say that abstract expressionism painting is the heyday of modern art, the emergence of pop art and super realism painting should be a turning point of contemporary art. In the 1970s, because of the influence of the concept art, the painting moved to the edge, which led to the crisis discussion of the painting. In the 1980s, the art of painting on the shelf began to receive renewed attention in the western countries. People began to think about the meaning and transformation of painting in the post-modern context. The conceptualization of painting and painting are the most discussed problems in contemporary painting. What is the relationship between painting and idealism? What kind of creativity will painting bring in today's era? Such problems are often discussed by the creators of painting art, only in order to find out the value geometry of painting as a form of artistic expression in the era of picture and image flooding.
【学位授予单位】：西安美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205
【参考文献】
相关期刊论文 前3条
1 尚辉;;绘画性何以成为当下绘画创作的重要问题[J];中国油画;2012年02期
2 王林;;当代绘画的观念性问题[J];文艺研究;2006年07期
3 段炼;最后的前卫──97惠特尼双年展的绘画性与批评中的阅读描述[J];世界美术;1997年04期
，本文编号：2371736
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