本文關(guān)鍵詞： 當(dāng)代油畫(huà) 符號(hào)化語(yǔ)言 形式內(nèi)容 平面化特征　出處：《華中師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：當(dāng)代藝術(shù),就是我們正在經(jīng)歷的、現(xiàn)在正在發(fā)生的藝術(shù),主要指具有現(xiàn)代精神和具備現(xiàn)代語(yǔ)言的藝術(shù)。油畫(huà)藝術(shù)是當(dāng)代藝術(shù)領(lǐng)域不可或缺的表現(xiàn)形式。油畫(huà)語(yǔ)言本身具有其內(nèi)在規(guī)律,媒介材料是藝術(shù)語(yǔ)言的物質(zhì)基礎(chǔ)。從油畫(huà)語(yǔ)言的符號(hào)形式出發(fā),分析符號(hào)形式的發(fā)展理論及其發(fā)展規(guī)律如何影響當(dāng)代中國(guó)的油畫(huà)藝術(shù)語(yǔ)言,對(duì)受此藝術(shù)思想影響的藝術(shù)流派和藝術(shù)家進(jìn)行解析。中國(guó)藝術(shù)家處于時(shí)代變更轉(zhuǎn)型期間,社會(huì)轉(zhuǎn)變對(duì)藝術(shù)家的創(chuàng)作會(huì)產(chǎn)生很大影響。國(guó)際化藝術(shù)語(yǔ)言環(huán)境讓中國(guó)當(dāng)代藝術(shù)更具有個(gè)人符號(hào)化的創(chuàng)作表達(dá)。全球化的今天社會(huì),繪畫(huà)者更需要去尋找一種差別與其他畫(huà)家的符號(hào)語(yǔ)言,以使自己在潮流中凸顯出來(lái),本文旨在從哲學(xué)角度出發(fā),分析當(dāng)代中國(guó)油畫(huà)語(yǔ)言的表達(dá)方式,舉例論證中國(guó)當(dāng)代油畫(huà)創(chuàng)作的觀念表達(dá)以及藝術(shù)家的時(shí)代性思維模式轉(zhuǎn)變。闡述油畫(huà)語(yǔ)言中符號(hào)形式表達(dá)的重要性及其對(duì)當(dāng)代藝術(shù)創(chuàng)作的借鑒意義。 本文將從以下四個(gè)章節(jié)予以簡(jiǎn)要論述： 第一章：中國(guó)當(dāng)代油畫(huà)為視覺(jué)藝術(shù)提供了閱讀圖式符號(hào)的廣闊世界,這種符號(hào)的形成就是一種繪畫(huà)“語(yǔ)言共識(shí)”,這種現(xiàn)象就是我們所提到的當(dāng)代油畫(huà)創(chuàng)作中的符號(hào)化傾向。我試圖從符號(hào)化的形式和內(nèi)容的概念及其關(guān)系進(jìn)行論述。中國(guó)當(dāng)代國(guó)際化語(yǔ)境下符號(hào)化的情感表達(dá)方式進(jìn)行闡述,對(duì)中國(guó)當(dāng)代市場(chǎng)化語(yǔ)境下符號(hào)化形成的條件進(jìn)行分析。 第二章：解析當(dāng)代油畫(huà)創(chuàng)作中符號(hào)化語(yǔ)言的運(yùn)用方法：黑白灰圖式語(yǔ)言符號(hào)化探索；結(jié)構(gòu)、空間感繪畫(huà)語(yǔ)言的符號(hào)化探析；筆觸、線條、肌理在油畫(huà)語(yǔ)言中的符號(hào)化運(yùn)用。以及當(dāng)代油畫(huà)創(chuàng)作語(yǔ)境中色彩語(yǔ)言符號(hào)形式的運(yùn)用。 第三章：中國(guó)當(dāng)代很多作品如同兒童畫(huà)般平面,這種平涂方式在創(chuàng)作中司空見(jiàn)慣。這種平面設(shè)計(jì)感的作品給人耳目一新之感。也側(cè)面反映出來(lái)我國(guó)當(dāng)代藝術(shù)創(chuàng)作中的一種平面化追求。 第四章：我國(guó)當(dāng)代油畫(huà)符號(hào)化創(chuàng)作特征日益明顯,通過(guò)例舉當(dāng)代具有代表性的藝術(shù)家岳敏君、張曉剛、王廣義來(lái)闡釋其符號(hào)化特征下不同的內(nèi)在涵義。
[Abstract]:Contemporary art is what we are going through, what is happening now. Oil painting art is an indispensable form of expression in the field of contemporary art. Oil painting language itself has its inherent law. Media material is the material basis of art language. From the perspective of the symbolic form of oil painting language, this paper analyzes how the development theory of symbol form and its development law affect the contemporary Chinese oil painting art language. The art schools and artists affected by this artistic thought are analyzed. Chinese artists are in the period of time change and transformation. Social changes will have a great impact on the creation of artists. The international artistic language environment makes Chinese contemporary art more personal symbolic creative expression. Globalization of today's society. Painters more need to find a difference from other artists in the symbolic language in order to make themselves prominent in the trend, the purpose of this article from a philosophical point of view, analysis of contemporary Chinese oil painting language expression. This paper illustrates the concept expression of Chinese contemporary oil painting creation and the change of the contemporary thinking mode of the artist, and expounds the importance of the symbol form expression in the oil painting language and its reference significance to the contemporary art creation. This article will be briefly discussed in the following four chapters: The first chapter: Chinese contemporary oil painting provides the broad world of reading schematic symbols for visual art, and the formation of this kind of symbol is a kind of painting "language consensus". This phenomenon is the symbolization tendency of contemporary oil painting that we mentioned. I try to discuss the concept and relationship of symbolization form and content. The emotional expression of symbolization in Chinese Contemporary International context. To elaborate. This paper analyzes the conditions of symbolic formation in the context of contemporary marketization in China. Chapter II: analysis of the use of symbolic language in contemporary oil painting: black and white gray schematic language symbolization exploration; Structure, space sense of painting language symbolic analysis; The use of strokes, lines and texture in the symbolization of oil painting language and the use of color language symbols in the context of contemporary oil painting creation. Chapter three: many contemporary Chinese works are like children's paintings. This kind of flat painting method is common in creation. This kind of graphic design works give people a fresh feeling. It also reflects a kind of planarization pursuit in contemporary art creation of our country. Chapter 4th: the characteristics of symbolization of contemporary oil paintings in China are becoming more and more obvious. Through illustrating the representative artists Yue Minjun, Zhang Xiaogang and Wang Guangyi, we can explain the different inherent meanings under the symbolization characteristics.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J213

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