- 无标题文档
查看论文信息

论文题名(中文):

 生命力、写意与形之迹化--当代中国写意油画的发展方向探析    

作者:

 王梅格    

学号:

 20420029    

论文语种:

 中文    

学生类型:

 硕士    

学校:

 中央美术学院    

院系:

 造型学院    

专业:

 油画    

研究方向:

 东西方传统绘画写意精神的比较研究    

第一导师姓名:

 丁一林    

论文完成日期:

 2007-06-25    

论文题名(外文):

 Vitality,Enjoyable Oil Painting and Imprint the Image    

关键词(中文):

 中西合璧 民族化 生命力 写意油画 形之迹化 天人合一    

关键词(外文):

 Combination of Chinese and Western Culture Nationalism Vitality Enjoyable Oil Painting To Imprint the Image Harmony of Man and Nature    

论文摘要(中文):
出于种种原因,真正提出油画写意的研究还是近几年的事,提出写意油画,也是刚刚不久。而这些还都只局限于学院内部的课题研究,只是个很小范围的研究。写意油画刚刚开始自觉,虽然已有些探索并形成一些面貌,但是总体上讲,探索远远不够,面貌还很单一,对自身缺乏认识,并缺乏创造的激情和前进的动力,所以进展不大。写意油画的提出,是强调民族文化传统的必然结果。写意油画是个有待发展的空间,其前景广阔,它需要几代艺术家的共同努力和建设。 本文乐观地展望中国油画中西合璧的前景,并将分认识论和实践论两部分,从认识的根源和实践的现实出发,展开对写意油画的发展问题的论证:从新的角度对美的概念进行审视,对绘画本质深入思考,指出生命力是美的根源,写意是人类总结出的对这种根源进行有效表现的手法;从中西合璧的大背景出发,纵观历史,横向比较,分析写意油画的现状及原因,并提出“形之迹化”的概念。在此基础上指出,写意离不开对媒介的天人合一的把握,指出拓展油画媒介空间对于发展写意油画的重要意义及可行性,试图以此为试验方向,为写意油画的发展打开局面。本文认识论本原和方法论角度的探索,旨在抛砖引玉,希望这方面的研究,能对促进中国具象油画的发展有建设性的意义。
摘要(外文):
For various reasons, it has been only a couple of years that the enjoyable research of oil painting was first proposed, while the idea of enjoyable oil painting just came into being recently. However, these are restricted as an academic research only, within a very small scope. Enjoyable oil painting is just starting to awaken, with some explorations to establish a certain form, but generally speaking, such exploration is far from enough, with a single invariable form, lack of self consciousness, creative enthusiasm and the drive to advance. As a matter of fact, the proposal of enjoyable oil painting is the inevitable result of emphasis on Chinese traditional culture. As a promising territory to be developed, enjoyable oil painting requires the joint effort and construction of several generations of artists. This paper, starting from the source of thought and the realism of practice, optimistically foresees the prospect of combining Chinese and western culture in Chinese oil painting, and discusses the development issues of enjoyable oil painting, in both epistemology and the theory of practice. From the new point of view, the author reviews the definition of beauty, and contemplates the nature of painting, so as to point out that vitality is the source of beauty, and that enjoyable painting is the approach summarized by people to effectively express this source; Starting from the general context of combination of Chinese and western culture, judging from the history and making parallel comparison, the author analyzes the status quo and reasons of enjoyable oil painting, and proposes the concept of “to imprint the image”, on the basis of which, she points out that enjoyable painting can not live without the grasp of media as the harmony of man and nature, and that it is important and practicable to expand the oil painting’s media space for the development of enjoyable oil painting. This is the direction she tries to experiment on, in order to open the space for the development of enjoyable oil painting. Exploring from the aspect of epistemology and methodology, this paper intends to invite further discussion on the topic, in the hope that such research will play a constructive role in the development of Chinese concrete oil painting.
馆藏号:

 10044720420029    

开放日期:

 2007-06-25    

无标题文档