論中西方油畫肖像藝術中的“具象”與“意象”的精神意義
發(fā)布時間：2018-10-22 11:36
【摘要】：就視覺藝術的意識審美形態(tài)而言，來源于歷史經驗價值的積累與視覺感觀文化的傳承，中西方對此，基于哲學思維理論層面的認識并無本質差別，只是二者的側重點有所偏差。中國的美術學注重“意象”的表達方式，講究以事實為基礎所衍生出的帶有作者主觀情感，寄托精神的意境。西方的美術思維及審美則偏向對于具體細節(jié)如實刻畫的秉承，其強調客觀物質世界的藝術再現(xiàn)，追求嚴謹、務實的“具象”寫實創(chuàng)作體驗。中西方的藝術基于物質文明、精神文明的發(fā)展而不斷變化，符合時代性、審美要求的藝術形態(tài)被賦予了新的活力與含義。即使如此，文化間的差異性，，經濟發(fā)展水平的差別，政治體制的不同，物質存在基礎的區(qū)別造就了東西方美術學和而不同的藝術表達手法，對待客觀物質與精神追求的差異化演變。 全球化的趨勢改變了世界的交流方式，也為中西方藝術形態(tài)、意識層面乃至文化間的交互創(chuàng)造了優(yōu)越的時代條件。雙方在不斷的接觸、吸收、借鑒、博弈間尋求發(fā)展。這時的中國美術實踐活動多圍繞著西方“具象”物態(tài)、創(chuàng)作思維、色彩語言編制所展開。與此同時，西方藝術則熱忱于挖掘中國特色的“形式”之美，“精神”之美以及“玄幻”之美，并移植于西方美術學繪畫研究中，力求感官性地再現(xiàn)。 “具象”與“意象”的探討與其說是一場中西方審美視角的博弈，還不如說是時代環(huán)境背景下精神層面進行選擇的一個過程�！熬呦蟆迸c“意象”成為中國美術學科研究中的一類分支，判別了近現(xiàn)代以來中國美術，尤其是中國油畫的發(fā)展方向�！熬呦蟆钡倪x擇沿襲了西方寫實表現(xiàn)手法的創(chuàng)作概念，迎合了中國社會發(fā)展階段對事物本真實質的追求。而“意象”的傳承，更多地表達為中國傳統(tǒng)藝術理念與西方時尚藝術潮流意識的結合，是一種創(chuàng)造性的藝術表達。 本文從肖像油畫這一分支為切入點，產生了對“具象”油畫與“意象”油畫表現(xiàn)風格的認識，通過對具象油畫的現(xiàn)狀與價值加以分析，探究二者之間形成的歷史，可以追本溯源到“具象”與“意象”的本質特征。對于“具象藝術”的細節(jié)把握、“意象藝術”的境界追求是肖像油畫時代特征的內涵所需。當代中國油畫面臨多元化的藝術風尚，外來文化的精神沖擊，如何在繼承本民族傳統(tǒng)繪畫技法的基礎上大膽突破，融合創(chuàng)新是中國新油畫的發(fā)展問題。
[Abstract]:As far as the conscious aesthetic form of visual art is concerned, it originates from the accumulation of historical experience value and the inheritance of visual perception culture. There is no essential difference between China and the West on the basis of philosophical thinking theory, but the emphasis of the two is deviated. Chinese art studies pay attention to the expression of "image", pay attention to the artistic conception with the subjective emotion and the spirit of the author derived from the fact. Western art thinking and aesthetics tend to stick to the truthful depiction of specific details, emphasizing the artistic reproduction of the objective material world, and pursuing rigorous and pragmatic "concrete" realistic writing experience. Chinese and Western art is based on the material civilization, the development of spiritual civilization and constantly changing, in line with the times, aesthetic requirements of the art form has been given new vitality and meaning. Even so, differences between cultures, differences in economic development levels, differences in political systems, and differences in the basis of material existence have created the artistic expression techniques of East and West Fine Arts in harmony with each other. To treat the objective material and spiritual pursuit of the different evolution. The trend of globalization has changed the way of communication in the world, and has also created favorable conditions for the interaction of Chinese and Western art, consciousness and even culture. The two sides are in constant contact, absorption, reference, game between the search for development. At this time, Chinese art practice mostly revolves around the western "figurative" material state, creative thinking and color language compilation. At the same time, Western art is devoted to exploring the beauty of "form", "spirit" and "mystery" of Chinese characteristics, and transplanted into the study of western art painting, striving to reproduce sensuously. The discussion of "figurative" and "Image" is not so much a game of aesthetic perspective between China and the West as a process of spiritual selection in the context of the environment of the times. "figurative" and "Image" have become a branch of Chinese art research, which distinguishes the development direction of Chinese art since modern times, especially in Chinese oil painting. The choice of "figurative" follows the western concept of realistic expression and caters to the pursuit of the essence of things at the stage of Chinese social development. The inheritance of "image" is more expressed as the combination of Chinese traditional art concept and western fashion art trend consciousness, which is a creative artistic expression. From the perspective of the branch of portrait oil painting, this paper gives rise to the understanding of the expressive style of "concrete" oil painting and "image" oil painting, analyzes the present situation and value of concrete oil painting, and probes into the history of the formation between them. It can be traced back to the essential characteristics of "concrete" and "image". To grasp the details of "figurative art", the realm pursuit of "image art" is necessary for the connotation of the characteristics of the era of portrait painting. Contemporary Chinese oil painting is faced with the diversified artistic fashion and the spiritual impact of foreign culture. How to make bold breakthrough on the basis of inheriting the traditional painting techniques of this nation and how to merge and innovate are the development problems of Chinese new oil painting.
【學位授予單位】：南昌大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J213
本文編號：2287044
[Abstract]:As far as the conscious aesthetic form of visual art is concerned, it originates from the accumulation of historical experience value and the inheritance of visual perception culture. There is no essential difference between China and the West on the basis of philosophical thinking theory, but the emphasis of the two is deviated. Chinese art studies pay attention to the expression of "image", pay attention to the artistic conception with the subjective emotion and the spirit of the author derived from the fact. Western art thinking and aesthetics tend to stick to the truthful depiction of specific details, emphasizing the artistic reproduction of the objective material world, and pursuing rigorous and pragmatic "concrete" realistic writing experience. Chinese and Western art is based on the material civilization, the development of spiritual civilization and constantly changing, in line with the times, aesthetic requirements of the art form has been given new vitality and meaning. Even so, differences between cultures, differences in economic development levels, differences in political systems, and differences in the basis of material existence have created the artistic expression techniques of East and West Fine Arts in harmony with each other. To treat the objective material and spiritual pursuit of the different evolution. The trend of globalization has changed the way of communication in the world, and has also created favorable conditions for the interaction of Chinese and Western art, consciousness and even culture. The two sides are in constant contact, absorption, reference, game between the search for development. At this time, Chinese art practice mostly revolves around the western "figurative" material state, creative thinking and color language compilation. At the same time, Western art is devoted to exploring the beauty of "form", "spirit" and "mystery" of Chinese characteristics, and transplanted into the study of western art painting, striving to reproduce sensuously. The discussion of "figurative" and "Image" is not so much a game of aesthetic perspective between China and the West as a process of spiritual selection in the context of the environment of the times. "figurative" and "Image" have become a branch of Chinese art research, which distinguishes the development direction of Chinese art since modern times, especially in Chinese oil painting. The choice of "figurative" follows the western concept of realistic expression and caters to the pursuit of the essence of things at the stage of Chinese social development. The inheritance of "image" is more expressed as the combination of Chinese traditional art concept and western fashion art trend consciousness, which is a creative artistic expression. From the perspective of the branch of portrait oil painting, this paper gives rise to the understanding of the expressive style of "concrete" oil painting and "image" oil painting, analyzes the present situation and value of concrete oil painting, and probes into the history of the formation between them. It can be traced back to the essential characteristics of "concrete" and "image". To grasp the details of "figurative art", the realm pursuit of "image art" is necessary for the connotation of the characteristics of the era of portrait painting. Contemporary Chinese oil painting is faced with the diversified artistic fashion and the spiritual impact of foreign culture. How to make bold breakthrough on the basis of inheriting the traditional painting techniques of this nation and how to merge and innovate are the development problems of Chinese new oil painting.
【學位授予單位】：南昌大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J213
【參考文獻】
相關期刊論文 前3條
1 段飛;;意象化——中國當代油畫語言的精神回歸[J];大藝術;2007年01期
2 李杰;;“成教化,助人倫”——試論中國傳統(tǒng)肖像畫的主要功能[J];大眾文藝;2010年04期
3 謝九生;;寫意油畫用筆的書法意識[J];大眾文藝;2010年20期
本文編號：2287044
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