本文選題：孫為民 + 印象派��； 參考：《山東工藝美術(shù)學(xué)院》2014年碩士論文

【摘要】：印象派是西方繪畫史上的轉(zhuǎn)折點，開啟了世界現(xiàn)代繪畫藝術(shù)的大門。印象派繪畫最早在20世紀初由李叔同，劉海粟等畫家從日本帶入中國。建國以后，由于蘇聯(lián)美術(shù)教育模式的引入，印象派藝術(shù)被視作資本主義文化的產(chǎn)物因而受到排斥和限制。一直到改革開放以后，隨著中西方文化交流的不斷加深，西方現(xiàn)代繪畫藝術(shù)讓國內(nèi)的畫家大為震撼。20世紀80年代開始，標榜“現(xiàn)代藝術(shù)”成為了國內(nèi)繪畫特別是油畫的主流。一時間，抽象、意向、表現(xiàn)等等各種現(xiàn)代風(fēng)格的油畫作品鋪天蓋地的席卷了整個中國大地。 魯迅先生講：“民族的既世界的”，正當畫家們沉浸在追逐西方現(xiàn)代藝術(shù)的時候，中國油畫的民族化問題引起了畫家們的關(guān)注。很多畫家注意到，西方的現(xiàn)代繪畫藝術(shù)中追求的情感表達與傳統(tǒng)的中國水墨畫中的抒情是相通的。于是，用油畫材料表現(xiàn)帶有國畫的味道的畫作以及從民間美術(shù)中汲取營養(yǎng)的意象表現(xiàn)畫作無疑是體現(xiàn)油畫中國畫的一條捷徑。但是，中國油畫的民族化不僅僅是在表現(xiàn)形式上對東西繪畫的拼湊結(jié)合，更要體現(xiàn)出畫家自身濃厚的民族情感。孫為民先生的油畫作品就是對當代中國油畫民族化理解的最直觀的表達。孫為民先生是我國當代著名的油畫家，其繪畫風(fēng)格在油畫界獨樹一幟。他是當代中國運用印象派繪畫技法表現(xiàn)自己民族情懷的實踐者和領(lǐng)路人。本文著重對孫為民先生繪畫風(fēng)格的形成過程和不同風(fēng)格時期的繪畫作品進行分析研究。通過對孫為民先生繪畫經(jīng)歷和繪畫作品的研究，結(jié)合自身對油畫語言的理解和實踐，對深層次的理解中國油畫民族化問題和提升自身的繪畫素養(yǎng)有著十分重要的意義。
[Abstract]:Impressionism is a turning point in the history of western painting and opens the door of modern painting art in the world. Impressionist painting was first brought into China by Li Shutong, Liu Haisu and other painters from Japan in the early 20 th century. After the founding of the people's Republic of China, the Impressionist art was regarded as the product of capitalist culture because of the introduction of the art education model in the Soviet Union. Until the reform and opening up, with the deepening of cultural exchanges between China and the West, the modern western painting art greatly shocked the domestic painters. Since the 1980s, "modern art" has become the mainstream of domestic painting, especially oil painting. For a time, abstract, intention, performance and other modern style of oil painting sweeping the entire land of China. Lu Xun said: "the world of the nation", while painters immersed in the pursuit of Western modern art, the nationalization of Chinese oil paintings attracted the attention of painters. Many painters have noticed that the expression of emotion pursued in modern western painting is related to the lyricism in traditional Chinese ink painting. Therefore, the use of oil painting materials with the flavor of traditional Chinese painting and drawing nutrients from the folk art of image performance painting is undoubtedly a shortcut to reflect oil painting in Chinese painting. However, the nationalization of Chinese oil painting is not only a combination of painting in the form of expression, but also reflects the national feelings of the painters themselves. Sun Weimin's oil painting is the most intuitive expression of the nationalization understanding of contemporary Chinese oil painting. Sun Weimin is a famous oil painter in our country, his painting style is unique in oil painting. He is a practical and leading person in contemporary China to use Impressionist painting techniques to express his national feelings. This paper focuses on the forming process of Sun Weimin's painting style and the painting works of different styles. Through the study of Sun Weimin's painting experience and painting works, combined with his own understanding and practice of oil painting language, it is of great significance to understand the nationalization of Chinese oil painting at a deeper level and to improve his painting accomplishment.
【學(xué)位授予單位】：山東工藝美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J213

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