發(fā)布時(shí)間：2018-05-15 22:03

  本文選題：人物油畫 + 肢體語(yǔ)言�。� 參考：《吉林藝術(shù)學(xué)院》2017年碩士論文

【摘要】：油畫人物的藝術(shù)創(chuàng)作過(guò)程是從長(zhǎng)時(shí)間的學(xué)習(xí)和生活實(shí)踐中得來(lái),觀察人物本身的特性并且與自身感受相結(jié)合再通繪畫的各種技法轉(zhuǎn)換成具有強(qiáng)烈個(gè)人風(fēng)格的繪畫是我自身想要追求的一種表達(dá)方式,從人物繪畫中截取具有強(qiáng)烈表現(xiàn)性語(yǔ)言的創(chuàng)作作品再深度解析,得知?jiǎng)?chuàng)作過(guò)程中的靈感往往來(lái)自于自身所處的環(huán)境或者經(jīng)歷感受。并且在反復(fù)的揣摩后形成對(duì)人物關(guān)系或是情緒的一種共性表達(dá),使之成為一種具有自身特點(diǎn)的表現(xiàn)性語(yǔ)言。人物的肢體語(yǔ)言在某一程度代替有聲語(yǔ)言的功能,并且能夠做到毫無(wú)保留的表現(xiàn)出人物角色的特點(diǎn),這一點(diǎn)在繪畫中常被創(chuàng)作者們運(yùn)用。運(yùn)用肢體語(yǔ)言來(lái)告訴觀者所要表達(dá)的人物意識(shí)形態(tài),又稱身體語(yǔ)言或身勢(shì)語(yǔ),觀念上是指大腦有意識(shí)和無(wú)意識(shí)狀態(tài)下身體所呈現(xiàn)的各種動(dòng)作,這些動(dòng)作可以達(dá)到輔助有聲語(yǔ)言的功能,甚至可以代替有聲語(yǔ)言,從而來(lái)表達(dá)人物思想與內(nèi)涵之間的一種溝通肢體語(yǔ)言的象征符號(hào)。創(chuàng)作作品中人物造型的感知與代表內(nèi)容選題定位在當(dāng)今社會(huì)年輕一代女性人物的生活狀態(tài),人物形態(tài)會(huì)表達(dá)出環(huán)境,而環(huán)境也會(huì)反射出人物的意志想法,這種人物與環(huán)境的鏈接通常都在表達(dá)一種情緒,一種氛圍,繼而影響我對(duì)待事物的看法,其價(jià)值在于對(duì)人性更深刻的探知,人物縱然擁有眾生相,但當(dāng)今社會(huì)背景下的女性又有著與時(shí)代并不對(duì)稱的眾生相。
[Abstract]:The process of artistic creation of oil painting characters is derived from long time study and life practice. Observing the character of the character and combining it with my own feelings to convert the various techniques of painting into a painting with a strong personal style is a form of expression I want to pursue. Through the deep analysis of the works with strong expressive language, the author finds that the inspiration in the process of creation often comes from his own environment or experience. And form a common expression of the relationship or emotion of the characters after repeated speculation, making it a kind of expressive language with its own characteristics. To a certain extent, the body language of characters can replace the function of sound language, and it can show the characteristics of characters without reservation, which is often used by the creators in painting. The use of body language to tell the person ideology to be expressed by the viewer, also known as body language or body language, refers to all kinds of actions the body presents in the conscious and unconscious state of the brain. These actions can achieve the function of auxiliary sound language, or even replace the sound language, so as to express a symbolic symbol of body language communication between the thought and connotation of the characters. The perception and representative content of characters in the creative works are located in the life state of the younger generation of female characters in today's society. The characters' forms will express the environment, and the environment will also reflect the will of the characters. This kind of link to the environment usually expresses an emotion, an atmosphere, and then affects my view of things, the value of which is a deeper understanding of human nature, even if the character has a human face. However, women in the present social background also have a generation which is not symmetrical with the times.
【學(xué)位授予單位】：吉林藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J213

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

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2 張艷莉;李向花;;關(guān)于角色沖突的研究概述[J];黑龍江史志;2009年02期

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本文編號(hào)：1894117