本文選題：中國油畫　切入點：國畫元素　出處：《河北師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：當(dāng)今社會發(fā)展迅速，國際間文化藝術(shù)交流日益頻繁，油畫作為一種國際化的繪畫創(chuàng)作形式，更是藝術(shù)交流的重點。油畫自引入中國，歷經(jīng)百余年的發(fā)展，融合中國傳統(tǒng)繪畫，經(jīng)過不斷的探索、改造，在題材內(nèi)容、審美情趣、表現(xiàn)方式等方面均具有鮮明的民族特征，逐步形成了獨具特色的中國油畫。 本文大致可以分為四個部分。首先介紹了中國傳統(tǒng)繪畫，即國畫的發(fā)展、國畫的種類以及國畫的創(chuàng)作特征，同時對西方油畫在中國的百年發(fā)展歷程進(jìn)行了概述，并分階段、分時期從不同角度介紹了中國油畫借鑒國畫元素的原因。第二部分則分別從構(gòu)圖布置、筆墨線條、色彩應(yīng)用和意境表現(xiàn)等方面剖析了中國油畫對國畫元素借鑒的具體形式，并加以具體示例進(jìn)行闡述。第三部分則從吳冠中、徐悲鴻、董希文的幾幅極具代表性的作品入手，詳細(xì)的論述了作品中對國畫元素借鑒的形式和方法，并就目前我國油畫創(chuàng)作中對國畫元素借鑒的現(xiàn)狀和成效進(jìn)行了分析。第四部分闡述了中國油畫對國畫元素借鑒的現(xiàn)實意義，，認(rèn)為這種借鑒既是發(fā)揚中國傳統(tǒng)繪畫藝術(shù)的必然要求，也是是豐富中國油畫文化內(nèi)涵的必然途徑，不僅符合民族審美意識的審美需求，而且是提高國家文化軟實力的內(nèi)在要求。 本文通過研究分析，提出中國油畫對國畫元素的借鑒與吸收，不應(yīng)當(dāng)僅僅局限于構(gòu)圖布置、筆墨線條、色彩應(yīng)用等表面形式上面，更需要在充分發(fā)揮油畫特色的基礎(chǔ)上，汲取中國優(yōu)秀的傳統(tǒng)文化，融入中華民族的民族精神，結(jié)合社會時代的特征，將中國傳統(tǒng)繪畫中蘊(yùn)含的藝術(shù)精神和西方油畫進(jìn)行有機(jī)的結(jié)合，從而創(chuàng)作出更符合中國觀眾審美標(biāo)準(zhǔn)，更具藝術(shù)感染力的中國油畫。
[Abstract]:Nowadays, with the rapid development of society, international cultural and artistic exchanges are increasingly frequent. Oil painting, as an international form of painting creation, is also the focus of artistic exchange. Oil painting has been introduced into China after more than 100 years of development, and has integrated Chinese traditional painting. After continuous exploration, transformation, in the subject matter content, aesthetic taste, performance style and other aspects have distinct national characteristics, gradually formed a unique Chinese oil painting. This paper can be roughly divided into four parts. Firstly, it introduces the development of traditional Chinese painting, the types of traditional Chinese painting and the creative characteristics of traditional Chinese painting. At the same time, it summarizes the century-old development of western oil painting in China, and divides it into stages. The second part analyzes the concrete form of Chinese oil painting from the aspects of composition layout, ink line, color application and artistic conception performance. The third part begins with several representative works by Wu Guanzhong, Xu Beihong and Dong Xiwen, and discusses in detail the forms and methods in which elements of traditional Chinese painting can be used for reference. At the same time, it analyzes the present situation and effect of the elements of traditional Chinese painting in oil painting creation in our country. Part 4th expounds the practical significance of Chinese oil painting to the elements of traditional Chinese painting. It is considered that this kind of reference is not only an inevitable requirement for developing Chinese traditional painting art, but also an inevitable way to enrich the connotation of Chinese oil painting culture. It not only accords with the aesthetic demand of national aesthetic consciousness, but also is the internal requirement of improving the soft power of national culture. Through research and analysis, this paper points out that the reference and absorption of Chinese oil painting to elements of traditional Chinese painting should not only be confined to the surface forms such as composition arrangement, brush and ink lines, color application, but also need to give full play to the characteristics of oil painting. Drawing on the excellent Chinese traditional culture, integrating the national spirit of the Chinese nation, combining the characteristics of the social times, combining the artistic spirit contained in the Chinese traditional painting with the western oil painting organically, In order to create more in line with the Chinese audience aesthetic standards, more artistic appeal of Chinese oil painting.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J205

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