油画中国化中的平面化倾向研究
发布时间：2019-01-25 09:04
【摘要】：任何文化形式天生就具有开放和流动的性质,发源于西方的油画引入中国已经有了一个世纪的历程,作为一种成熟的西方绘画语言,在本土文化、哲学、政治等方面影响下,适应了中国的时代特色,逐渐为中华民族所接受和包容。在油画中国化的进程中,不难发现平面化倾向作为绘画语言形式之一,普遍运用于中国油画的创作实践过程中。相比起制作复杂的传统写实性油画,平面化倾向的表达手法更具有主观性,可以更快速地表达出画家的真情实感,是“外师造化,中得心源”的体现,能很好地适应快节奏的时代。并且,平面化具有一定的符号化特征,并蕴含着丰富的想象空间,简单快捷的制作方法深受画家和普通大众的广泛喜爱。不仅是画家自身的选择,也是时代和市场审美的选择。油画中国化中的平面化倾向是油画家们主动融合中西的艺术实践,本文针对这一不可忽视的重要艺术现象作为研究对象,首先,笔者对油画中国化进程中的平面化倾向的发展脉络进行梳理,回顾了融汇中西的实践,分析其形成的原因。接着,作为本文的主要研究的内容,分析了在民族传统艺术与时代审美取向的影响下油画中国化进程中的平面化风格倾向及其具体表现,笔者列举了在此方向实践发展的中国油画累积的成果和经验及理论。然后,通过研究前人的具体实践,并结合艺术理论层面的研究和笔者的创作实践,将理论的探讨与创作的具体实践相结合,从作品内容和表现语言两方面对笔者在此方面的具体实践探索进行分析和反思。最后,通过以上对油画中国化中的平面化倾向的分析,体会中国油画的魅力与平面化倾向的可行性,展望中国油画未来的发展。本文认为,任何一种艺术形式的出现都是建立在一定的文化基础之上的,油画艺术在中国的土地上生根发芽,作为中国的艺术家,在创作中或多或少都会受到传统艺术的影响。油画中国化中的平面化倾向是一种积极的探索实践,注重西方绘画语言与中国文化元素的结合,不仅对更好地创造出具有中华民族特色的油画语言有积极的意义,也对中国油画融入世界具有重要的推动作用。同时,分析研究油画中国化当中的平面化趋向,对于笔者自身来说,赋予创作的油画作品以真情实感,以期更好地进行具体的创作实践。
[Abstract]:Any form of culture is naturally open and mobile. It has been a century since oil paintings originated from the West were introduced into China. As a mature language of Western painting, under the influence of local culture, philosophy, politics, and so on, Adapted to China's characteristics of the times, gradually accepted and tolerated by the Chinese nation. In the process of Chinese oil painting, it is not difficult to find that flatness is one of the forms of painting language, which is widely used in the process of Chinese oil painting creation. Compared with the production of complex traditional realistic oil paintings, the expression of flat tendency is more subjective and can express the painters' true feelings more quickly. Be able to adapt well to the fast-paced times. In addition, planarization has some symbolic features, and contains rich imagination space, simple and fast production methods are widely loved by painters and the general public. Is not only the painter's own choice, but also the time and the market aesthetic choice. The planarization tendency of oil painting in China is the painters' active integration of Chinese and Western artistic practice. This paper aims at this important art phenomenon which can not be ignored as the research object, first of all, The author combs the development of flat tendency in the process of Chinese oil painting, reviews the practice of blending Chinese and western countries, and analyzes the reasons for its formation. Then, as the main research content of this paper, it analyzes the flat style tendency and its concrete performance in the process of Chinese oil painting under the influence of the traditional national art and the aesthetic orientation of the times. The author enumerates the accumulated achievements, experiences and theories of Chinese oil painting in this direction. Then, by studying the concrete practice of predecessors, combining the research of artistic theory and the author's creative practice, the author combines the theoretical discussion with the concrete practice of creation. This paper analyzes and reflects on the author's concrete practice and exploration in this aspect from the aspects of the content of the work and the language of expression. Finally, through the above analysis of the planarization tendency of Chinese oil painting, we can understand the feasibility of Chinese oil painting charm and planarization tendency, and look forward to the future development of Chinese oil painting. This paper holds that the emergence of any kind of art form is based on a certain cultural foundation, the oil painting art takes root on the land of China, as a Chinese artist, it is more or less influenced by the traditional art in the creation. The flattening tendency of Chinese oil painting is a positive exploration practice. Paying attention to the combination of western painting language and Chinese cultural elements is not only of positive significance to the creation of oil painting language with Chinese characteristics. It also plays an important role in promoting the integration of Chinese oil painting into the world. At the same time, the author analyzes the trend of flatness of oil painting in China, for the author, gives the oil painting the true feeling, in order to better carry on the concrete creation practice.
【学位授予单位】：广东工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
[Abstract]:Any form of culture is naturally open and mobile. It has been a century since oil paintings originated from the West were introduced into China. As a mature language of Western painting, under the influence of local culture, philosophy, politics, and so on, Adapted to China's characteristics of the times, gradually accepted and tolerated by the Chinese nation. In the process of Chinese oil painting, it is not difficult to find that flatness is one of the forms of painting language, which is widely used in the process of Chinese oil painting creation. Compared with the production of complex traditional realistic oil paintings, the expression of flat tendency is more subjective and can express the painters' true feelings more quickly. Be able to adapt well to the fast-paced times. In addition, planarization has some symbolic features, and contains rich imagination space, simple and fast production methods are widely loved by painters and the general public. Is not only the painter's own choice, but also the time and the market aesthetic choice. The planarization tendency of oil painting in China is the painters' active integration of Chinese and Western artistic practice. This paper aims at this important art phenomenon which can not be ignored as the research object, first of all, The author combs the development of flat tendency in the process of Chinese oil painting, reviews the practice of blending Chinese and western countries, and analyzes the reasons for its formation. Then, as the main research content of this paper, it analyzes the flat style tendency and its concrete performance in the process of Chinese oil painting under the influence of the traditional national art and the aesthetic orientation of the times. The author enumerates the accumulated achievements, experiences and theories of Chinese oil painting in this direction. Then, by studying the concrete practice of predecessors, combining the research of artistic theory and the author's creative practice, the author combines the theoretical discussion with the concrete practice of creation. This paper analyzes and reflects on the author's concrete practice and exploration in this aspect from the aspects of the content of the work and the language of expression. Finally, through the above analysis of the planarization tendency of Chinese oil painting, we can understand the feasibility of Chinese oil painting charm and planarization tendency, and look forward to the future development of Chinese oil painting. This paper holds that the emergence of any kind of art form is based on a certain cultural foundation, the oil painting art takes root on the land of China, as a Chinese artist, it is more or less influenced by the traditional art in the creation. The flattening tendency of Chinese oil painting is a positive exploration practice. Paying attention to the combination of western painting language and Chinese cultural elements is not only of positive significance to the creation of oil painting language with Chinese characteristics. It also plays an important role in promoting the integration of Chinese oil painting into the world. At the same time, the author analyzes the trend of flatness of oil painting in China, for the author, gives the oil painting the true feeling, in order to better carry on the concrete creation practice.
【学位授予单位】：广东工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J213
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