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在近年的油画创作中,语言的完善,面貌的多样,说明中国油画对西方传统绘画图像的研究与借鉴已进入更深层面。“图式摹写”已成为当代油画创作中一种不可忽视的现象。对西方艺术图像的摹写使中国油画在极短的时间内得到了明显进步,产生了一些成功的作品,同时也出现了一些问题。 “图式摹写”是指在创作过程中对传统图像中的形式结构,语言特征及精神内涵进行移植和嫁接。我把油画创作中出现的这种“图式摹写”大致归结为三类。一是在形式结构或语言特征上借用和移植,具有较强的文化针对性和独特的精神内涵。二是借助于西方艺术图式表达自己的感受,但无法摆脱西方大师及其作品的影响,精神内涵也终归被其同化。三是从形式结构、语言特征及精神内涵上全部摹写,用别人的眼光来看待现实世界,自我完全迷失在大师的作品中。在提出问题时我们将进一步根据具体作品说明这个现象。
In recent years, the creation of oil paintings is characterized by the improvement of language and diverse appearances, which shows that the study and reference of Chinese oil painting on the traditional western painting images have entered a deeper level. “Schematic copy” has become a phenomenon that can not be ignored in contemporary oil painting creation. The depiction of western art images made Chinese oil painting significantly improved in a very short period of time, resulting in some successful works and some problems as well. “Schematic copy” refers to the transplant and grafting of the formal structure, language features and spiritual connotation in the traditional image during the process of creation. I put this kind of “pictorial copy” appearing in oil painting attributed to three categories. First, it is borrowed and transplanted in the form of structure or language features, with strong cultural relevance and unique spiritual connotation. The second is to use the Western art style to express their feelings, but they can not get rid of the influence of Western masters and their works. The spiritual connotation is finally assimilated by them. The third is to completely copy the formal structure, linguistic features and spiritual connotations, look at the real world from the perspective of others, and completely lose themselves in the master’s works. We will further explain this phenomenon based on specific works when asking questions.