综合材料的多元属性对油画创作的意义
发布时间：2018-12-31 14:03
【摘要】：传统的西方绘画从古代的胶彩画到近代的油画,经历了从间接画法向直接画法的演变。在日新月异的今天,社会科学技术的进步刷新着人们的观念,在经过对色彩和造型的极致探索之后,艺术家开始重新审视材料并逐渐重视对材料的开发和利用,他们或以传统的传承延续为基础进行创作,或对传统的材料进行了颠覆性的转变,以丰富绘画艺术的表现力,表现当下的艺术观念。在历史、文化、科技以及艺术观念的转变中,材料作为一个新的突破口,为油画开拓出了新的表现空间。在这个过程中,我们也可以看出材料作为独立的语言,其本身的言说能力被发现、被挖掘、被赋予独特的价值。材料在作品中创造性的应用,不是简单的罗列拼凑,而是在经过对综合材料多元属性深刻把握的基础上进行的创新。即,从重视材料本身所引起的视觉魅力,如对质地、肌理、色彩、形态的把握,形成特殊的表现形式和特殊的审美语境,以作为视觉强化的有效手段之外,进而对材料本体内在精神意义、文化内涵的挖掘。通过材料语言自身视觉魅力的释放以及其所蕴含着艺术家的思想与观念,使得油画艺术语言得到新生。
[Abstract]:The traditional western painting from the ancient glue painting to the modern oil painting, has experienced the evolution from the indirect painting method to the direct painting method. Today, with the rapid development of social science and technology, the development of social science and technology has refreshed people's ideas. After the ultimate exploration of color and modelling, artists began to re-examine materials and gradually attach importance to the development and use of materials. They either create on the basis of traditional inheritance or subversive transformation of traditional materials in order to enrich the expressiveness of painting art and to express the present artistic concept. In the transformation of history, culture, science and technology and art, materials as a new breakthrough opened up a new space for oil painting. In this process, we can also see that the material as an independent language, its own speaking ability is found, excavated, and given unique value. The creative application of materials in the works is not a simple list of patchwork, but on the basis of profound grasp of the multi-attributes of comprehensive materials. That is, from attaching importance to the visual charm caused by the material itself, such as grasping the texture, color and form, forming a special form of expression and a special aesthetic context, as an effective means of visual reinforcement, Furthermore, it excavates the inner spiritual meaning and cultural connotation of material Noumenon. Through the release of the visual charm of the material language itself and the artist's ideas and ideas, the oil painting art language gets a new life.
【学位授予单位】：青岛大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213
本文编号：2396684
[Abstract]:The traditional western painting from the ancient glue painting to the modern oil painting, has experienced the evolution from the indirect painting method to the direct painting method. Today, with the rapid development of social science and technology, the development of social science and technology has refreshed people's ideas. After the ultimate exploration of color and modelling, artists began to re-examine materials and gradually attach importance to the development and use of materials. They either create on the basis of traditional inheritance or subversive transformation of traditional materials in order to enrich the expressiveness of painting art and to express the present artistic concept. In the transformation of history, culture, science and technology and art, materials as a new breakthrough opened up a new space for oil painting. In this process, we can also see that the material as an independent language, its own speaking ability is found, excavated, and given unique value. The creative application of materials in the works is not a simple list of patchwork, but on the basis of profound grasp of the multi-attributes of comprehensive materials. That is, from attaching importance to the visual charm caused by the material itself, such as grasping the texture, color and form, forming a special form of expression and a special aesthetic context, as an effective means of visual reinforcement, Furthermore, it excavates the inner spiritual meaning and cultural connotation of material Noumenon. Through the release of the visual charm of the material language itself and the artist's ideas and ideas, the oil painting art language gets a new life.
【学位授予单位】：青岛大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J213
【参考文献】
相关期刊论文 前9条
1 刘权;;绘画中物质材料的综合运用与个性表现[J];东方艺术;2007年01期
2 刘明来;;综合材料绘画创作的形式与语言[J];淮南师范学院学报;2010年02期
3 张振江;;对安塞姆·基弗运用铅材之意图的剖析[J];美术教育研究;2011年04期
4 廉亚威;赵寒春;;黄河一隅 艺的升华——浅谈艺术家尚扬[J];美术教育研究;2012年23期
5 雷雅琴;;当代中国综合材料绘画的艺术表现——由2010中国综合材料绘画邀请展谈起[J];美术界;2011年06期
6 廖易;;安东尼·塔皮埃斯的东方情结[J];世界知识;2012年07期
7 张振江;;浅议综合绘画教学[J];艺术教育;2010年02期
8 包海燕;李宇亮;;浅谈“综合材料”在当代中国油画作品中的运用[J];内蒙古民族大学学报;2010年04期
9 黄海燕;;后现代语境下的石冲油画创作[J];艺术百家;2009年S1期
，本文编号：2396684
本文链接：https://www.wllwen.com/wenyilunwen/huihuayishu/2396684.html
