本文選題：裝飾性繪畫語(yǔ)言 + 繪畫語(yǔ)言特征��； 參考：《內(nèi)蒙古師范大學(xué)》2013年碩士論文

【摘要】：當(dāng)代內(nèi)蒙古許多畫家在油畫創(chuàng)作中不斷探索著具有裝飾趣味的油畫。他們都曾經(jīng)對(duì)外來(lái)及本土藝術(shù)進(jìn)行深入研究、借鑒并使之融合，并以自己獨(dú)特的方式運(yùn)用著不同趨向的裝飾性繪畫語(yǔ)言，述說(shuō)著畫家內(nèi)心的自我感受。盡管當(dāng)代東西方文化交流日趨頻繁，文化相互滲透，使民族的意識(shí)語(yǔ)言的界限有所淡化而模糊，但其作品的色彩語(yǔ)言所表現(xiàn)出的藝術(shù)靈魂不會(huì)變，所折射出的這個(gè)民族的時(shí)代精神不會(huì)變。我們應(yīng)認(rèn)識(shí)到現(xiàn)代不是傳統(tǒng)的否定和斷裂，現(xiàn)代藝術(shù)是傳統(tǒng)藝術(shù)的延續(xù)和演變，努力發(fā)現(xiàn)民族的繪畫藝術(shù)精髓，在創(chuàng)造既有傳統(tǒng)又是現(xiàn)代的，既有油畫精髓又具民族精神作品的努力過(guò)程中，將傳統(tǒng)藝術(shù)與現(xiàn)代油畫結(jié)合起來(lái)，將大眾需求和文化品位結(jié)合起來(lái)，去探索有自己風(fēng)格的作品。在一定程度上使用裝飾性語(yǔ)言的油畫絕不能等同于裝飾畫，否則就會(huì)變味跑調(diào)，不利于油畫藝術(shù)的研究和發(fā)展。在繪畫作品中適當(dāng)注入裝飾性因素，對(duì)油畫的表現(xiàn)形式與意境是一種開拓，是有益的創(chuàng)新途徑之一。內(nèi)蒙古油畫前途要靠?jī)?nèi)蒙古油畫家對(duì)自身的民族文化精神的覺悟，自身的思考智慧與艱辛的探索才能獲得。同時(shí)構(gòu)建有益于民族文明進(jìn)步的文化價(jià)值觀，為之奮斗的人生觀。我們要站在歷史的高度和世界的寬度，在發(fā)揚(yáng)本民族優(yōu)秀傳統(tǒng)文化和吸取外來(lái)文化的精華的創(chuàng)造中堅(jiān)持自尊、自信、自強(qiáng)和自立的精神。促進(jìn)當(dāng)代內(nèi)蒙古美術(shù)創(chuàng)作的繁榮，，創(chuàng)造具有鮮明的民族特色，飽滿的時(shí)代精神和真誠(chéng)的個(gè)性特征的內(nèi)蒙古風(fēng)格油畫。內(nèi)蒙古當(dāng)代油畫表現(xiàn)語(yǔ)言所傳達(dá)出的地域文化內(nèi)涵、民族情感、時(shí)代氣息及多民族群體文化審美思想等諸多方面,都是值得我們關(guān)注和研究的。
[Abstract]:Many contemporary artists in Inner Mongolia have been exploring oil paintings with decorative taste in oil painting creation. They have studied foreign and native art deeply, used it for reference and combined it, and used the decorative painting language with different trends in their own unique way to describe the painter's inner feelings. Although the cultural exchanges between the East and the West are becoming more and more frequent and the cultures infiltrate each other, the boundaries of the national consciousness and language are diluted and blurred, but the artistic soul of the color language of his works will not change. The spirit of the times reflected in this nation will not change. We should realize that modern art is not the negation and rupture of tradition, modern art is the continuation and evolution of traditional art, and strive to discover the essence of the national painting art, which is both traditional and modern in creating, In the process of both the essence of oil painting and the work of national spirit, the combination of traditional art and modern oil painting, the combination of popular demand and cultural taste, to explore the work with its own style. To a certain extent, the use of decorative language oil painting can not be equated with decorative painting, otherwise it will change the tone, which is not conducive to the research and development of oil painting art. Properly injecting decorative factors into painting works is one of the beneficial innovative ways to develop the expression and artistic conception of oil painting. The future of Inner Mongolia oil painting depends on the inner Mongolia oil painters' awareness of their own national cultural spirit, their own thinking wisdom and hard exploration. At the same time, the construction of cultural values conducive to the progress of national civilization, fighting for the outlook on life. We should stand at the height of history and the width of the world, and persist in the spirit of self-esteem, self-confidence, self-improvement and self-reliance in the creation of carrying forward our nation's excellent traditional culture and absorbing the essence of foreign culture. To promote the prosperity of contemporary Inner Mongolia fine arts creation, to create a distinctive national characteristics, full of the spirit of the times and sincere personality characteristics of Inner Mongolia style oil painting. The regional cultural connotation, national emotion, the atmosphere of the times and the cultural aesthetic thoughts of multi-ethnic groups conveyed by the contemporary oil painting of Inner Mongolia are worthy of our attention and study.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 方舟;內(nèi)蒙古美術(shù)40年巡禮[J];美術(shù);1987年09期

本文編號(hào)：2091496