發(fā)布時間：2018-05-29 17:43

  本文選題：審美規(guī)律 + 古典繪畫��； 參考：《湖南師范大學》2013年碩士論文

【摘要】：就油畫而言,構成繪畫語言的根本要素有三個基本點：造型、色彩、材料技法。造型和色彩已被我國眾多的藝術家、美學家進行全方位的探索和實踐,并被社會接受和肯定,為造型語言和色彩語言這兩大系統(tǒng)審美價值的實現(xiàn),技法材料作為載體在繪畫中長期扮演著間接地技術角色。歷史的原因,中國油畫教育是建立在對歐洲近300年來形成的“直接畫法”體系之上發(fā)展至今的,而對歐洲優(yōu)秀傳統(tǒng)繪畫發(fā)展有2000年歷史的“間接畫法”體系則缺乏足夠的認識和借鑒。 現(xiàn)代油畫是以古典油畫乃至油畫史前的一些繪畫技法為基礎發(fā)展起來的。現(xiàn)在很多畫家已經(jīng)放棄了各種傳統(tǒng)上嚴謹?shù)挠彤嫾挤?因此缺乏可靠地技術基礎,通常,人們在使用各種制作方法時,既缺乏有關的材料知識,又缺乏鑒別判斷能力。有些畫家甚至擔心,假如過分地關心技術,他們的藝術個性就會受到損害。其實,精神的自由是以可靠地技術為基礎的,有關油畫的技法材料,對所有油畫家來說,不管他屬于哪一個畫派,都應以最好的方式正確地使用技法材料,這樣才能奠定發(fā)展個人風格的牢固基礎,同時也才能創(chuàng)作出更加精美,更加耐久的藝術作品來。 中國引進西方美術教育近一個世紀,造型和色彩的教學在漸成體系,材料技法技術手段卻一直沒有在教學中重視,我們習慣地把技法材料看做是藝術的物質載體和過程,是日常積累起來的技術技能經(jīng)驗,自然把對技法材料語言規(guī)律的研究放在形而下的位置上。我們的專業(yè)處于初級階段,首先面臨的問題是重新客觀地、深刻地認識歐洲傳統(tǒng)繪畫語言的發(fā)展規(guī)律,調整我們的藝術思維,以審美與技術為主線,貫穿起傳統(tǒng)藝術和現(xiàn)代藝術。 鑒于現(xiàn)代油畫創(chuàng)作及教學中對歐洲古典油畫審美上技法上方面研究的不足和美術界普遍存在的輕視油畫技法材料的現(xiàn)狀,本文從歐洲古代大師及其優(yōu)良傳統(tǒng)出發(fā)就古典油畫的功能、審美、材料、形式、技巧、精神傳達等方面分析古典油畫,以及它對現(xiàn)代繪畫產(chǎn)生的影響。
[Abstract]:As far as oil painting is concerned, the basic elements of painting language have three basic points: modeling, color and material technique. Modeling and color have been explored and practiced by many artists and aestheticians in our country, and accepted and affirmed by the society, so as to realize the aesthetic value of modeling language and color language. As a carrier, technical materials play an indirect role in painting. Historical reasons, Chinese oil painting education is based on the "direct painting" system formed in Europe for nearly 300 years. However, there is a lack of understanding and reference to the "indirect painting" system, which has a history of 2000 years. Modern oil painting is based on some painting techniques of classical oil painting and even oil painting. Now many painters have given up all kinds of traditional rigorous oil painting techniques, so they lack reliable technical foundation. In general, when people use various production methods, they lack the knowledge of relevant materials and the ability to distinguish and judge. Some painters even worry that their artistic individuality will be damaged if they care too much about technology. As a matter of fact, spiritual freedom is based on reliable technology. For all oil painters, no matter what kind of painting they belong to, they should use technical materials correctly and in the best way possible. In order to lay a solid foundation for the development of personal style, but also to create more beautiful, more durable works of art. China has introduced western art education for nearly a century, and the teaching of shapes and colors is gradually becoming a system, but the technical means of material techniques have not been attached importance to in teaching. We are used to seeing technical materials as the material carriers and processes of art. Is the daily accumulation of technical skills experience, naturally put the study of the language laws of technical materials in the form of a lower position. Our major is in the primary stage. The first problem we face is to understand the law of the development of traditional European painting language objectively and profoundly, to adjust our artistic thinking, and to take aesthetics and technology as the main line. Run through traditional art and modern art. In view of the lack of research on the techniques and techniques of European classical oil painting in modern oil painting creation and teaching and the present situation of disdain of oil painting technical materials in the field of fine arts, This paper analyzes the function, aesthetics, material, form, skill and spirit communication of classical oil painting from the point of view of ancient European masters and their fine traditions, as well as its influence on modern painting.
【學位授予單位】：湖南師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J213

【參考文獻】

相關期刊論文 前1條

1 張元;材料與表現(xiàn)初探——工作室教學思路與教學方式[J];美術研究;2001年01期

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本文編號：1951825