对“70后新绘画”现象在中国当代油画中体现的视觉特征研究
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摘要
油画作为欧洲的传统绘画,在中国已有百年的历史。从上世纪上半叶一批先贤到国外学习油画,并将其引入中国,到了五六十年代油画获得了空前的发展,中国的写实油画达到了前所未有的高度。文革十年,油画处于停顿或倒退。六七十年代改革开放,我们有机会更多的领略油画的魅力。八十年代后,在中国的画坛上几乎将欧洲几百年渐进发展的多个流派样式在短短的几年里都有所演变,油画在当代的文化发展中是引人注目的。
生于七十年代的艺术家们经历着全新的社会变革和社会的飞速发展,新的时代给予他们丰富的信息和机会,于是追求独特的风格便成了艺术家们不可或缺的有别于他人的专有精神特征而别强调和夸大。对于出生在这一时期的艺术家们,创作,如何把握时代精神,如何从欧洲文化传统和中国文化传统中汲取营养,如何表达个性,是大家都要面对的课题。
本课题以美术学为“70后新绘画现象”的研究主线,以艺术心理学为切入点,辅以认知心理学、市场学、社会学等相关学科,对“70后”油画艺术进行多方面多层级的思考研究,归纳总结出“70后”油画艺术的题材范围和视觉模式、个性特点及其艺术价值,为“70后”绘画艺术发展提供借鉴和参考。
首先,本文对“70后”的概念进行分析研究。通过对“70后”艺术的概念以及“70后”艺术家所处的历史背景进行总结分析,了解“70后新绘画”现象的产生背景和原因。然后从中总结分析出“70后新绘画”现象产生的时代和文化背景,以利于后面“70后”油画艺术研究的展开。
其次,本文在上述研究的基础上,对“70后”绘画的题材范围和视觉模式进行认识与分析。通过对“70后”绘画的题材和模式的分析,具体研究了“70后”油画的视觉特性,同时对“70后”一些代表画家的作品进行分析。
再次,本文研究了“70后新绘画”现象与大众文化的关系。通过艺术市场对当代油画的影响以及当代油画对大众文化形象的吸收等方面的研究,总结出“70后新绘画”现象的文化观念。
最后,总结全文提出“70后新绘画”现象的现实意义与当代价值,论述了“70后”绘画的市场前景,并对其后续发展空间提出了新的展望和思考。
As an European traditional painting, Oil painting has a history of over one hundred years in China. In the first half of the last century, many forerunners went to foreign countries to learn Oil painting and brought it to China. Oil painting developed very quickly in 1950's and 1960's, and the realist oil paintings have developed to an unprecedented standard. During the Cultural Revolution, Oil painting went back or became stop. We have more chances to learn the charm of Oil painting until the reform and opening-up. After 1980's, in a short few years, Oil painting has almost developed all the European styles and genres, it’s growth has been very noticeable.
The artists born in 1950's have experienced brand-new social transform and rapid development, new era give them plentiful information and chances, therefore,distinctive style was emphasized and exaggerated as artist’indispensable and particular spiritual characteristics. Creation, how to seize the Zeitgeist , how to learn from traditional European and Chinese culture , how express individuality, are the issues these artists will face to.
This essay will research on the“Post-70s new painting phenomenon”, based on the art psychology, supported by cognitive psychology, marketing, sociology, pondered multilaterally on Post-70s oil painting art, generalized the theme area ,visual pattern ,individuality and artistic value of Post-70s oil painting art, give some reference to the development of Post-70s oil painting.
Firstly, this essay do some research and analysis on the concept of“Post-70s”.By analyzing the concept and historical background of Post-70s artists, to know the formation background and reason of“Post-70s new painting phenomenon”. Then it summarizes the era and culture background of this phenomenon, benefit the following research.
Secondly, based on the above research, analyze the theme area and visual pattern of Post-70s Oil painting, furthermore, analyze the visual characteristic, and case study on the works of some representative Post-70s painters.
Thirdly, this essay researches on the relationships between“Post-70s new painting phenomenon”and popular culture. After analyzing the influence of art market to the present oil painting and the absorption present oil painting did from popular culture image, summarizing the culture notion of“Post-70s new painting phenomenon”.
Finally, this essay will summarize the practical significance and modern value of“Post-70s new painting phenomenon”, dissertate the market prospect of“Post-70s”painting, and do some reflect and look ahead its next room for growth.
生于七十年代的艺术家们经历着全新的社会变革和社会的飞速发展,新的时代给予他们丰富的信息和机会,于是追求独特的风格便成了艺术家们不可或缺的有别于他人的专有精神特征而别强调和夸大。对于出生在这一时期的艺术家们,创作,如何把握时代精神,如何从欧洲文化传统和中国文化传统中汲取营养,如何表达个性,是大家都要面对的课题。
本课题以美术学为“70后新绘画现象”的研究主线,以艺术心理学为切入点,辅以认知心理学、市场学、社会学等相关学科,对“70后”油画艺术进行多方面多层级的思考研究,归纳总结出“70后”油画艺术的题材范围和视觉模式、个性特点及其艺术价值,为“70后”绘画艺术发展提供借鉴和参考。
首先,本文对“70后”的概念进行分析研究。通过对“70后”艺术的概念以及“70后”艺术家所处的历史背景进行总结分析,了解“70后新绘画”现象的产生背景和原因。然后从中总结分析出“70后新绘画”现象产生的时代和文化背景,以利于后面“70后”油画艺术研究的展开。
其次,本文在上述研究的基础上,对“70后”绘画的题材范围和视觉模式进行认识与分析。通过对“70后”绘画的题材和模式的分析,具体研究了“70后”油画的视觉特性,同时对“70后”一些代表画家的作品进行分析。
再次,本文研究了“70后新绘画”现象与大众文化的关系。通过艺术市场对当代油画的影响以及当代油画对大众文化形象的吸收等方面的研究,总结出“70后新绘画”现象的文化观念。
最后,总结全文提出“70后新绘画”现象的现实意义与当代价值,论述了“70后”绘画的市场前景,并对其后续发展空间提出了新的展望和思考。
As an European traditional painting, Oil painting has a history of over one hundred years in China. In the first half of the last century, many forerunners went to foreign countries to learn Oil painting and brought it to China. Oil painting developed very quickly in 1950's and 1960's, and the realist oil paintings have developed to an unprecedented standard. During the Cultural Revolution, Oil painting went back or became stop. We have more chances to learn the charm of Oil painting until the reform and opening-up. After 1980's, in a short few years, Oil painting has almost developed all the European styles and genres, it’s growth has been very noticeable.
The artists born in 1950's have experienced brand-new social transform and rapid development, new era give them plentiful information and chances, therefore,distinctive style was emphasized and exaggerated as artist’indispensable and particular spiritual characteristics. Creation, how to seize the Zeitgeist , how to learn from traditional European and Chinese culture , how express individuality, are the issues these artists will face to.
This essay will research on the“Post-70s new painting phenomenon”, based on the art psychology, supported by cognitive psychology, marketing, sociology, pondered multilaterally on Post-70s oil painting art, generalized the theme area ,visual pattern ,individuality and artistic value of Post-70s oil painting art, give some reference to the development of Post-70s oil painting.
Firstly, this essay do some research and analysis on the concept of“Post-70s”.By analyzing the concept and historical background of Post-70s artists, to know the formation background and reason of“Post-70s new painting phenomenon”. Then it summarizes the era and culture background of this phenomenon, benefit the following research.
Secondly, based on the above research, analyze the theme area and visual pattern of Post-70s Oil painting, furthermore, analyze the visual characteristic, and case study on the works of some representative Post-70s painters.
Thirdly, this essay researches on the relationships between“Post-70s new painting phenomenon”and popular culture. After analyzing the influence of art market to the present oil painting and the absorption present oil painting did from popular culture image, summarizing the culture notion of“Post-70s new painting phenomenon”.
Finally, this essay will summarize the practical significance and modern value of“Post-70s new painting phenomenon”, dissertate the market prospect of“Post-70s”painting, and do some reflect and look ahead its next room for growth.
引文
①绍大箴.新艺术的后援:生于七十年代的青年艺术家[M].北京:中国画报出版社,2000年,第4页
①陈思和.现代都市的“欲望”文本——对“七十年代出生”女作家创作的一点思考[N].文汇报(沪),2000
①朱其.“70后”:这个名称意味着什么? [J].美苑,2005(5)
①朱其.艺术当代[J].上海:上海书画出版社,2006年.第三期
①陆容之.艺术东方[J].东方艺术杂志社,2006年经典三
①(英)巴钠德著;王升才,张爱东,卿上力译.艺术、设计与视觉文化[M].南京:江苏美术出版社,2006年.第2页
①詹姆逊著胡敏译.文化转向[M].中国社会科学出版社,2000年.4-5
①朱其.关于漫画一代及其争议[J].北方美术,2005(4),7
①本雅明.机器复制时代的艺术品[M].杭州浙江出版社,1993年.译文中将Aura译为韵味,光芒。
①张之沧.“后人类”进化[J].江海学刊,2004年(6),5
①贾方舟.图像演义:读图时代的艺术选择[J].天津:中国油画,2005年.(3)
[1]王令中.视觉艺术心理—美术形式的视觉效应与心理分析[M].北京:人民美术出版社,2005.
[2]响叮当.中国新人类——卡通一代[M].湖南美术出版社,2002.
[3]孙周兴,高士明.视觉的思想:“现象学与艺术”国际学术研讨会论文集[M].杭州:中国美术学院出版社, 2003.
[4]李于昆.数字艺术中艺术家的角色[J].美术观察,2006.
[5]吕澎. 1990—1999:中国当代艺术史[M].湖南美术出版社,2000,.3.
[6] (英)雷诺兹(Reynolds,J.),代亭译.皇家美术学院十五讲[M].上海:上海人民出版社,2006.
[7]初昊.图像的共存与互动—法国蓬皮杜中心当代艺术藏品“新浪潮”展[J].世界美术,北京,2005,11-15.
[8]贺万里.永远的前卫[M].郑州:郑州大学出版社,2003.
[9]吕品田.新生代艺术—漫游的存在[M].长春:吉林美术出版社,1999.
[10]沈杰.“新人类”:一种社会学的解读[J].中国青年研究,2001,2.
[11] (英).E.H贡布里希,林夕、李正本、范景中译,艺术与错觉―图画再现的心理学研究[M].湖南科技技术出版社,2000.
[12] (美)弗兰克(Frank,P)著,陈月蕾译.视觉艺术史[M].上海:上海人民美术出版社,2008,3.
[13] (英)汤因比,王冶河译.艺术的未来[M].广西师范大学出版社,2002.
[14] (美)阿恩海姆,周宪译.艺术的心理世界[M].中国人民大学出版社,2003.
[15] (澳)罗伯特·休斯,欧阳译.新的冲击[M].百花文艺出版社,2003.
[16]扈海鹂.解读大众文化[M].上海人民出版社,2003.
[17]绍大箴.新艺术的后援:生于七十年代的青年艺术家[M].北京:中国画报出版社,2000.
[18] (英)巴纳德著,王升才,张爱东,卿上力译.艺术设计与视觉文化[M].南京:江苏美术出版社,2006.
[19]马钦忠.卡通一代与消费文化[M].长沙:湖南美术出版社,2002.
[20]黄一翰.卡通一代及未来艺术[J].西北美术,2001,(2).
[21]陆蓉之.当代新“异术”-“虚拟的爱”介于艺术与动漫之间[J].世界,2006,(2).
[22]朱其.70后艺术:市场改变中国后的一代[J].文艺研究,2006,(3).
[23]朱其.“70后”:这个名称意味着什么?[J].美苑,2005,(5).
[24]朱其.新艺术史与视觉叙事[M].湖南:湖南美术出版社,2003.
[25]朱其.关于卡通一代的再申辩[J].北方美术(天津美术学院学报),2006,(1).
[26]徐恩存.中国美术,展望2008[J].北京:新华出版社,2008.4
[27]房方、查文白.下一站:卡通吗?七零后的艺术[J].展览画册,艺维图书,2005.
[28]杜大恺.清华美术.卷3:艺术教育的当代境遇[J].北京:清华大学出版社,2006,11.
[29]邹跃进、万小平.艳俗艺术[M.]湖南:湖南美术出版社,2003.
[30]易英.刘小东-中国当代油画名家个案研究[M].湖北:湖北美术出版社,2000.
[31]孙振华、鲁虹.艺术与社会[M].湖南:湖南美术出版社,2005.
[32]鲁虹.图像的图像-2003中国当代油画邀请展[M].南宁:广西美术出版社,2003.
[33]段君.忧郁与残缺:“70后”艺术中的寓言意识[J].文艺研究,2006,(3).
[34]谢辉.“70后”再解读[J].河南纺织高等专科学校学报,2005,(1).
[35]王嘉.“70后”艺术:概念的认同与局限[J].文艺研究,2006,(3).
[36] Schnotz . W . & Lowe. R . External and internal representations in multimedia learning[M].Learning and Instruction,2003.13.
[37] Higgs·Eric.Nature by design[M].Cambridge, Mass: MIT Press,2003.
①陈思和.现代都市的“欲望”文本——对“七十年代出生”女作家创作的一点思考[N].文汇报(沪),2000
①朱其.“70后”:这个名称意味着什么? [J].美苑,2005(5)
①朱其.艺术当代[J].上海:上海书画出版社,2006年.第三期
①陆容之.艺术东方[J].东方艺术杂志社,2006年经典三
①(英)巴钠德著;王升才,张爱东,卿上力译.艺术、设计与视觉文化[M].南京:江苏美术出版社,2006年.第2页
①詹姆逊著胡敏译.文化转向[M].中国社会科学出版社,2000年.4-5
①朱其.关于漫画一代及其争议[J].北方美术,2005(4),7
①本雅明.机器复制时代的艺术品[M].杭州浙江出版社,1993年.译文中将Aura译为韵味,光芒。
①张之沧.“后人类”进化[J].江海学刊,2004年(6),5
①贾方舟.图像演义:读图时代的艺术选择[J].天津:中国油画,2005年.(3)
[1]王令中.视觉艺术心理—美术形式的视觉效应与心理分析[M].北京:人民美术出版社,2005.
[2]响叮当.中国新人类——卡通一代[M].湖南美术出版社,2002.
[3]孙周兴,高士明.视觉的思想:“现象学与艺术”国际学术研讨会论文集[M].杭州:中国美术学院出版社, 2003.
[4]李于昆.数字艺术中艺术家的角色[J].美术观察,2006.
[5]吕澎. 1990—1999:中国当代艺术史[M].湖南美术出版社,2000,.3.
[6] (英)雷诺兹(Reynolds,J.),代亭译.皇家美术学院十五讲[M].上海:上海人民出版社,2006.
[7]初昊.图像的共存与互动—法国蓬皮杜中心当代艺术藏品“新浪潮”展[J].世界美术,北京,2005,11-15.
[8]贺万里.永远的前卫[M].郑州:郑州大学出版社,2003.
[9]吕品田.新生代艺术—漫游的存在[M].长春:吉林美术出版社,1999.
[10]沈杰.“新人类”:一种社会学的解读[J].中国青年研究,2001,2.
[11] (英).E.H贡布里希,林夕、李正本、范景中译,艺术与错觉―图画再现的心理学研究[M].湖南科技技术出版社,2000.
[12] (美)弗兰克(Frank,P)著,陈月蕾译.视觉艺术史[M].上海:上海人民美术出版社,2008,3.
[13] (英)汤因比,王冶河译.艺术的未来[M].广西师范大学出版社,2002.
[14] (美)阿恩海姆,周宪译.艺术的心理世界[M].中国人民大学出版社,2003.
[15] (澳)罗伯特·休斯,欧阳译.新的冲击[M].百花文艺出版社,2003.
[16]扈海鹂.解读大众文化[M].上海人民出版社,2003.
[17]绍大箴.新艺术的后援:生于七十年代的青年艺术家[M].北京:中国画报出版社,2000.
[18] (英)巴纳德著,王升才,张爱东,卿上力译.艺术设计与视觉文化[M].南京:江苏美术出版社,2006.
[19]马钦忠.卡通一代与消费文化[M].长沙:湖南美术出版社,2002.
[20]黄一翰.卡通一代及未来艺术[J].西北美术,2001,(2).
[21]陆蓉之.当代新“异术”-“虚拟的爱”介于艺术与动漫之间[J].世界,2006,(2).
[22]朱其.70后艺术:市场改变中国后的一代[J].文艺研究,2006,(3).
[23]朱其.“70后”:这个名称意味着什么?[J].美苑,2005,(5).
[24]朱其.新艺术史与视觉叙事[M].湖南:湖南美术出版社,2003.
[25]朱其.关于卡通一代的再申辩[J].北方美术(天津美术学院学报),2006,(1).
[26]徐恩存.中国美术,展望2008[J].北京:新华出版社,2008.4
[27]房方、查文白.下一站:卡通吗?七零后的艺术[J].展览画册,艺维图书,2005.
[28]杜大恺.清华美术.卷3:艺术教育的当代境遇[J].北京:清华大学出版社,2006,11.
[29]邹跃进、万小平.艳俗艺术[M.]湖南:湖南美术出版社,2003.
[30]易英.刘小东-中国当代油画名家个案研究[M].湖北:湖北美术出版社,2000.
[31]孙振华、鲁虹.艺术与社会[M].湖南:湖南美术出版社,2005.
[32]鲁虹.图像的图像-2003中国当代油画邀请展[M].南宁:广西美术出版社,2003.
[33]段君.忧郁与残缺:“70后”艺术中的寓言意识[J].文艺研究,2006,(3).
[34]谢辉.“70后”再解读[J].河南纺织高等专科学校学报,2005,(1).
[35]王嘉.“70后”艺术:概念的认同与局限[J].文艺研究,2006,(3).
[36] Schnotz . W . & Lowe. R . External and internal representations in multimedia learning[M].Learning and Instruction,2003.13.
[37] Higgs·Eric.Nature by design[M].Cambridge, Mass: MIT Press,2003.