本文關(guān)鍵詞：從石沖《今日景觀》看繪畫與裝置的融合　出處：《陜西師范大學(xué)》2016年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 《今日景觀》 裝置藝術(shù) 架上繪畫 融合

【摘要】：上個世紀(jì)八、九十年代,中國藝術(shù)受到了外來新潮藝術(shù)形式的影響,出現(xiàn)了《今日景觀》這種風(fēng)格獨(dú)特的藝術(shù)作品,該作品以裝置化的形象呈現(xiàn)在架上繪畫中,這種形式的出現(xiàn)啟發(fā)了筆者對于繪畫創(chuàng)新的意識,從而對作品中繪畫與裝置的融合展開研究。本文通過探討裝置對繪畫的影響和裝置表現(xiàn)語言同油畫表現(xiàn)形式的融合,尋找在油畫創(chuàng)作中觀念傳達(dá)的方式與形式創(chuàng)新的可能,以及新視覺體驗(yàn)形成的可能。在簡析裝置藝術(shù)本土化的同時,啟示我們在架上繪畫的創(chuàng)作中要善于吸取裝置、影像等其他新的藝術(shù)形式,同時對現(xiàn)實(shí)生活的思考,使當(dāng)代繪畫創(chuàng)作的觀念傳達(dá)更為深刻,其表現(xiàn)形式更加豐富。全文共有五章,可分為四個部分。其中第一章為本文的第一部分,主要對本論題的研究背景、相關(guān)領(lǐng)域的研究現(xiàn)狀、研究內(nèi)容、研究目的與意義進(jìn)行闡述。第二章為文章的第二部分,通過對大量書籍、學(xué)刊等資料的翻閱,以石沖的油畫作品《今日景觀》中的裝置元素為線索,先是總結(jié)了中國九十年代油畫的發(fā)展變革,表達(dá)了油畫想要貼近生活,吸收外來藝術(shù)的愿望,并且對照相寫實(shí)主義的傳入和影響進(jìn)行梳理,總結(jié)了裝置藝術(shù)在進(jìn)入中國之后的發(fā)展歷程,并著重對裝置藝術(shù)的“中國方式”做了詳細(xì)的分析,通過從油畫家被影響后的創(chuàng)作觀念和形式的轉(zhuǎn)變引出時代背景下繪畫與裝置融合的必然性。第三章即是文章的第三部分,主要通過描述《今日景觀》的藝術(shù)形式和風(fēng)格特征,分析它極為寫實(shí)的繪畫風(fēng)格和豐富的裝置表現(xiàn)元素,通過比較它們之間的語言特點(diǎn)、材質(zhì)特點(diǎn),制作方式和環(huán)境條件,結(jié)合同類藝術(shù)作品的補(bǔ)充分析,推導(dǎo)繪畫與裝置的語境轉(zhuǎn)換直到融合的過程。并通過以上的論據(jù)分析《今日景觀》的融合方式,以及其他風(fēng)格類型的延伸。第四章即是文章的第四部分,這一章主要論述從《今日景觀》展開的聯(lián)想,包括該作品于傳統(tǒng)形式的突破,通過對于裝置作為觀念具象化的呈現(xiàn)形式進(jìn)行闡述,解釋了石沖在繪畫創(chuàng)作中的意圖,引申出當(dāng)代藝術(shù)以觀念為先的特征,論證了繪畫與裝置的融合,符合時代發(fā)展的潮流。接著對“新繪畫”作品中裝置語言的跨界融合,繪畫作品在展示形式上的融合展開了聯(lián)想,最后闡述了該形式對筆者油畫藝術(shù)創(chuàng)作的啟發(fā)。第五章是對全文的總結(jié)和歸納,對發(fā)展中國本土的當(dāng)代藝術(shù)進(jìn)行了暢想和展望,為今后的藝術(shù)理想指明了方向。
[Abstract]:From 0th century to 90s, the Chinese art was influenced by the new art form, and the unique style of "Landscape of Today" appeared, which was presented in the frame painting with the image of installation. The emergence of this form inspired the author's consciousness of painting innovation. This paper discusses the influence of the device on the painting and the fusion of the expression language of the device and the expression form of the oil painting. Looking for the possibility of the way and form of concept communication in oil painting creation, as well as the possibility of the formation of new visual experience. At the same time of analyzing the localization of installation art. Apocalyptic we should be good at absorbing devices, images and other new art forms in the creation of paintings on the shelf, and at the same time, thinking about the real life, so that the concept of contemporary painting to convey more profound. The full text consists of five chapters, which can be divided into four parts. The first chapter is the first part of this paper, mainly about the research background of this topic, the research status quo of related fields, and the research content. The second chapter is the second part of the article, through the reading of a large number of books, journals and other materials, taking Shichong's oil painting "Landscape Today" as the clue. First summarized the development and transformation of Chinese oil painting in 90s, expressed the oil painting want to close to life, absorb the desire of foreign art, and the introduction and impact of photographic realism comb. This paper summarizes the development course of installation art after entering China, and makes a detailed analysis on the "Chinese way" of installation art. Through the change of creation idea and form after the oil painter was influenced, the necessity of the fusion of painting and installation under the background of the times was elicited. The third chapter is the third part of the article. Mainly through describing the art form and style characteristics of "Landscape Today", it analyzes its very realistic painting style and rich device performance elements, by comparing their language characteristics, material characteristics. Production methods and environmental conditions, combined with the complementary analysis of similar works of art, deduces the context of painting and installation until the process of fusion. And through the above arguments to analyze the fusion of "Landscape Today". As well as the extension of other style types. Chapter 4th is the 4th part of the article, this chapter mainly discusses the association from "Landscape Today", including the breakthrough in the traditional form of the work. Through expounding the device as the presentation form of the concept, explaining the intention of Shi Chong in the painting creation, extending the characteristics of contemporary art with the idea as the first, and demonstrating the fusion of painting and installation. In line with the trend of the development of the times. Then the "new painting" in the installation of language cross-border fusion, painting in the display of the fusion of the form began to associate. Finally, this paper expounds the inspiration of this form to the author's oil painting art creation. Chapter 5th is a summary and induction of the full text, and the development of contemporary art in China is reflected and prospected, which points out the direction for the future artistic ideal.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J213

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