本文選題：當(dāng)代 + 新具象��； 參考：《浙江師范大學(xué)》2013年碩士論文

【摘要】：人類誕生之初,就需要用各種方式來傳遞信息,進行交流。正是人類在彼此的相互交往中,繪畫以自己獨特的形式語言反映出先民的精神訴求。史前西班牙阿爾塔米拉洞窟中充滿蓬勃生命力的野牛巖畫,就是我們祖先用繪畫來傳遞對勞動、自然及觀念意識的載體,寄予了原始人的精神信念。無論是在原始社會還是在信息飛速發(fā)展的今天,作為視覺藝術(shù)的繪畫都顯示出它生動、直觀、交流無障礙的優(yōu)越性。盡管繪畫要借助一定的載體并使用一定的工具才能實現(xiàn),但最終的精神表現(xiàn)與形式追求才是繪畫作為藝術(shù)存在的最終目的。對畫家來說,通過畫面來傳遞作者獨特的藝術(shù)見解與對形式語言不懈的探究,始終是藝術(shù)家思索的重要命題。 早期的西方繪畫在傳統(tǒng)哲學(xué)的影響下,強調(diào)繪畫要模仿和反映客觀世界,真實的再現(xiàn)自然。隨著社會文化的不斷發(fā)展,各個地域出現(xiàn)了不同的繪畫風(fēng)貌,到了19世紀(jì)末,西方現(xiàn)代美學(xué)與繪畫對傳統(tǒng)觀念提出了挑戰(zhàn),他們認為繪畫是一種情感的表現(xiàn)、一種藝術(shù)創(chuàng)造,而不再是單純的再現(xiàn)與模仿。但是現(xiàn)代主義完全拋棄了繪畫的“形”,單純追求樣式化,直至上一世紀(jì)末西方后現(xiàn)代的繪畫觀念才使繪畫又重新回歸具象,回到架上。而我國的新具象繪畫也是在西方后現(xiàn)代語境的影響下,揉合了本土文化傳統(tǒng)的一種藝術(shù)探索,藝術(shù)家更加關(guān)注人的精神世界,關(guān)注社會、民生。從某種意義上講新具象繪畫是對傳統(tǒng)具象繪畫的一種繼承與發(fā)展,改革開放以來,中國的油畫藝術(shù)面貌發(fā)生了深刻的改變,藝術(shù)家從不同的方面探索油畫的藝術(shù)表現(xiàn)力。具象繪畫在多元格局中重新煥發(fā)出光彩,從描繪崇高、神圣的場景和塑造英雄人物走向描寫平凡生活與普通大眾,從理想化走向直面現(xiàn)實與人生。社會飛速發(fā)展中出現(xiàn)的新問題、急劇變革中弱勢群體與人民大眾的生存現(xiàn)狀,引起了藝術(shù)家的思考。一些有責(zé)任感與使命感的藝術(shù)家用畫筆創(chuàng)作了一些具有現(xiàn)實主義精神的作品。本文希望通過對新具象繪畫的分析,闡釋在當(dāng)下現(xiàn)實生活中蘊含的精神取向及西方現(xiàn)代后現(xiàn)代的藝術(shù)思潮對中國具象繪畫的影響,通過具體的畫家作品分析當(dāng)代中國新具象繪畫中體現(xiàn)出來的藝術(shù)精神。
[Abstract]:When human beings were born, they needed to communicate with each other in a variety of ways.It is in the mutual contact of human beings that painting reflects the spiritual demands of the ancestors in their own unique formal language.The bison rock painting, which is full of vigorous vitality in Arta Mira grotto in Spain, is the carrier of labor, nature and concept consciousness that our ancestors used to convey the spiritual belief of primitive people.Whether in the primitive society or in the rapid development of information today, as a visual art painting has shown its vivid, intuitive, communication and accessibility advantages.Although painting can only be realized by certain carriers and tools, but the ultimate spiritual expression and the pursuit of form is the ultimate purpose of painting as an art existence.For painters, it is always an important proposition for artists to pass on their unique artistic views and unremitting inquiry into formal language.Under the influence of traditional philosophy, early western painting emphasized that painting should imitate and reflect the objective world and reproduce nature.With the continuous development of social culture, different painting styles appeared in various regions. By the end of the 19th century, modern western aesthetics and painting challenged traditional concepts. They thought painting was an expression of emotion and an artistic creation.It is no longer a mere reproduction and imitation.However, modernism completely abandoned the "form" of painting and simply pursued stylization. It was not until the end of the last century that the concept of post-modern painting in the West made painting return to concrete again and return to the frame.The new figurative painting of our country is also under the influence of the western post-modern context, a kind of artistic exploration that combines the native culture tradition, the artist pays more attention to the human spirit world, the society, the people's livelihood.In a sense, new figurative painting is an inheritance and development of traditional figurative painting. Since the reform and opening up, Chinese oil painting has undergone profound changes, and artists have explored the artistic expression of oil painting from different aspects.Figurative painting rekindled its luster in the pluralistic pattern, from depicting lofty and sacred scenes and portraying heroic characters to describing ordinary life and ordinary people, from idealization to facing reality and life.The new problems in the rapid development of the society and the existence of the vulnerable groups and the masses in the rapid transformation have aroused the artists' thinking.Some artists with sense of responsibility and mission have created some realistic works with brushes.Through the analysis of the new figurative painting, this paper tries to explain the spiritual orientation contained in the present real life and the influence of the western modern and postmodern artistic trend on the Chinese figurative painting.The artistic spirit embodied in contemporary Chinese new figurative painting is analyzed through concrete painters' works.
【學(xué)位授予單位】：浙江師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J213

【參考文獻】

相關(guān)期刊論文 前1條

1 薛曄;畫家的社會責(zé)任——記油畫家徐唯辛[J];藝術(shù)·生活;2005年02期

，

本文編號：1770431