【摘要】：關(guān)于“陌生化”①,它是由20世紀(jì)俄羅斯形式主義創(chuàng)始人之一的什克洛夫斯基提出的美學(xué)理論,其內(nèi)涵就是使描繪對(duì)象陌生,通過(guò)這種陌生化的處理,來(lái)延長(zhǎng)觀者的審美時(shí)間,從而使觀者從麻木的狀態(tài)中清醒過(guò)來(lái),重新認(rèn)識(shí)世界。在文學(xué)創(chuàng)作中它是作為是一種重要的手段存在的,而繪畫作為一門視覺(jué)藝術(shù),“陌生化”的存在更多表現(xiàn)在視覺(jué)上帶來(lái)的陌生感。 縱觀中國(guó)的油畫史,自改革開放以來(lái),特別是“85美術(shù)新潮”運(yùn)動(dòng)的爆發(fā),中國(guó)的油畫發(fā)生了巨大的變化,西方現(xiàn)代藝術(shù)作為強(qiáng)勢(shì)的話語(yǔ)權(quán)進(jìn)入中國(guó),中國(guó)的油畫家們開始了學(xué)習(xí)和照搬西方現(xiàn)代藝術(shù)的路程,油畫在這個(gè)時(shí)期展現(xiàn)出與以往不同的形式,這種對(duì)西方繪畫風(fēng)格和樣式的照搬,促使了“陌生化”的出現(xiàn)。時(shí)間到了90年代,藝術(shù)家不再一味照搬西方藝術(shù),而是通過(guò)自身的體驗(yàn)去反映現(xiàn)實(shí)生活,客觀再現(xiàn)現(xiàn)實(shí)的傳統(tǒng)技藝已成為過(guò)去,他們通過(guò)各種語(yǔ)言方式關(guān)注當(dāng)下,關(guān)注當(dāng)代人的生存狀態(tài)和生活環(huán)境,在這些因素的觸及下,其中有大批畫家的作品就呈現(xiàn)出一種超現(xiàn)實(shí)、反常態(tài)、反傳統(tǒng)視覺(jué)體驗(yàn)的“陌生化”趨勢(shì)。 論文主要分為：“陌生化”美學(xué)理論、“陌生化”與中國(guó)當(dāng)代油畫、中國(guó)當(dāng)代油畫“陌生化”的實(shí)現(xiàn)途徑、“陌生化”對(duì)中國(guó)當(dāng)代油畫的價(jià)值和啟示,四個(gè)部分。“陌生化”美學(xué)理論中,在闡述了“陌生化”理論的基礎(chǔ)上,主要界定了繪畫中的“陌生化”以及它在西方現(xiàn)代繪畫中的完美表現(xiàn),最后簡(jiǎn)要分析了創(chuàng)作者和接受者角度的“陌生化”；第二部分和第三部分是論文的重點(diǎn)章節(jié),在“陌生化”與中國(guó)當(dāng)代油畫中,主要從兩個(gè)方面進(jìn)行研究：1.以《中國(guó)油畫史》為原始資料,按時(shí)間進(jìn)行梳理,分析“陌生化”在中國(guó)當(dāng)代油畫中的發(fā)展,2.主要闡述中國(guó)當(dāng)代油畫出現(xiàn)“陌生化”的兩個(gè)原因,在中國(guó)當(dāng)代油畫“陌生化”的實(shí)現(xiàn)途徑中,主要從五個(gè)方面,對(duì)中國(guó)當(dāng)代最具“陌生化”代表的作品進(jìn)行分析研究；第四部分,通過(guò)之前的研究,試圖找到“陌生化”對(duì)中國(guó)當(dāng)代油畫的價(jià)值以及啟示。這四個(gè)部分最終形成“理論——表現(xiàn)——實(shí)現(xiàn)——啟示”的完整論證。 中國(guó)當(dāng)代油畫的“陌生化”現(xiàn)象是不容忽視的,它記錄了從20世紀(jì)80年代中期開始,中國(guó)的藝術(shù)家們以一種陌生化的藝術(shù)來(lái)反映對(duì)當(dāng)下社會(huì)現(xiàn)實(shí)的理解,研究其在中國(guó)當(dāng)代油畫的發(fā)展及呈現(xiàn)是具有一定意義的。
[Abstract]:As for "defamiliarization" 1, it is an aesthetic theory put forward by Shklovsky, one of the founders of Russian formalism in the 20th century. The connotation of the theory is to make the depiction object strange. Through this defamiliarization treatment, the aesthetic time of the viewer can be prolonged. So that the viewer from the state of numbness to wake up, re-understanding the world. In literary creation, it exists as an important means, and painting as a visual art, the existence of "strangeness" more in the visual sense of strangeness. Throughout the history of oil painting in China, since the reform and opening up, especially the outbreak of the "85 Fine Arts New trend" movement, great changes have taken place in Chinese oil painting. Western modern art has entered China as a powerful discourse power. Chinese oil painters began to learn and copy the western modern art, oil painting in this period showed a different form than before, this kind of Western painting style and style copy, promoted the "defamiliarization". In the 1990s, artists no longer blindly copied Western art, but reflected real life through their own experience. The traditional art of objectively reproducing reality has become a thing of the past. They pay attention to the present through various language ways. Under the touch of these factors, a large number of painters' works show a trend of "defamiliarization" of surreal, abnormal and anti-traditional visual experience. The thesis is divided into four parts: aesthetic theory of "defamiliarization", "defamiliarization" and contemporary Chinese oil painting, ways of realizing "defamiliarization" of contemporary Chinese oil paintings, and the value and enlightenment of "defamiliarization" to contemporary Chinese oil paintings. In the aesthetic theory of "defamiliarization", on the basis of expounding the theory of "defamiliarization", it mainly defines the "strangeness" in painting and its perfect performance in modern western painting. Finally, the author briefly analyzes the "defamiliarization" between the creator and the recipient. The second part and the third part are the key chapters of the thesis, in the "defamiliarization" and contemporary Chinese oil painting, mainly from two aspects: 1. Taking "the History of Chinese Oil painting" as the original material and combing by time, this paper analyzes the development of "strangeness" in contemporary Chinese oil painting. This paper mainly expounds the two reasons for the appearance of "defamiliarization" in contemporary Chinese oil painting. In the realization of "defamiliarization" of contemporary Chinese oil paintings, it mainly analyzes and studies the most representative works of Chinese contemporary "strangeness" from five aspects. The fourth part, through the previous research, tries to find the value and enlightenment of "strangeness" to contemporary Chinese oil painting. These four parts form the complete argumentation of "Theory-performance-realization-revelation". The phenomenon of "strangeness" in contemporary Chinese oil painting cannot be ignored. It records that since the mid-1980s, Chinese artists have reflected their understanding of the present social reality with a kind of defamiliarization art. It is of certain significance to study the development and presentation of Chinese contemporary oil painting.
【學(xué)位授予單位】：西南大學(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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