【作者】 聂道汨；

【导师】 杨飞云；

【作者基本信息】 中国艺术研究院 ， 美术学， 2014， 博士

【摘要】 20世纪90年代以来,由于社会的深刻变迁,国门的继续开放,中外各种流派思潮的碰撞与交融,使得中国美术界真正进入了一个多元共存的空间,并迅速滋长出这个时代的话语方式、价值观念、思想主题、表现方式、文化情绪等。在这一特殊的环境下,中国古典风肖像油画既面临着众多的挑战,也迎来了多年来难得的发展机遇。挑战的是在这个西方当代艺术大行其道(一切为了创新)以及绘画死亡的背景中,而机遇既来自于“弘扬主旋律、提倡多样化”的方针政策,也来自于具象油画的逐渐回归,市场发展、商业繁荣所带来的画廊业的逐步成熟。本文研究分为五章：第一章,对20世纪80年代中国古典风肖像油画发展现状及语言特征作简要回顾与梳理,为研究90年代以来古典风油画起到一个自然的承接和对照作用；第二章,分析90年代以来古典风油画语言形成、转型的背景以及影响因素；第三章,从内容与题材、审美与观念、材料与技法三个方面分析90年代以来古典风肖像油画语言与80年代的不一样的特征：第四章,对这一时期有代表性的古典风肖像画家的油画语言作具体分析,探索其在构图、造型、色彩、技法以及题材、审美意向等方面的个性特征和精神内核：第五章,对古典风油画语言的现代性、本土性以及转型问题上提些思路和建议。这五章将构成论文的主体。通过以上研究,笔者得出的结论是：首先,经过20多年的继续发展,古典风肖像油画已由对西方古典油画样式和技法的学习转向对人性生命的关注和对西方古典精神的深入把握以及对民族精神的不断融合,题材、技法进一步融汇拓展；其次,对古典风油画语言的研究不可能只限制在技法风格史的范围内,其风格取向必定与画家个性、审美趣味、社会环境、意识形态、民族精神和题材内容有着千丝万缕的内在关系,因此综合研究是其必要方法；第三,对90年代以来中国古典风肖像油画语言问题的研究,不仅是中国当代艺术史的重要课题,还可以对其归纳总结进而思考传统绘画在当下的生命力以及可持续发展问题。古典风肖像油画的发展虽然还存在着不少的困难和瓶颈,但笔者相信在继续融汇东方精神以及拓宽西方写实技法的基础上,在不久地将来,古典风肖像油画一定会在中国这片肥沃的土地上结出更多、更丰硕的果实。更多还原

【Abstract】 Since the1990s, due to the profound social changes and continuing opening up policy, the colliding and blending of Chinese and Western thoughts, Chinese ar t circle has entered a multiple coexistence stage where the mode of expression, v alues, behavior, theme, and culture emotion of this age developed radically. In thi s special environment, Chinese classical style portrait painting faces grave challeng es as well as rare development opportunities. Challenges come from the prevalenc e of Western modern art (everything for innovation) and death of paintings. Oppo rtunities stem from advocated policies for diversity, the gradual return to represent ational oil painting, the development of market, and the mature of galleries indust ry.The paper can be divided into five chapters. The first chapter gives a brief review of the development and language features of classical style portrait oil painting in the1980s China, which plays a natural role of undertaking and contrasting in classical style oil painting study since the1990s. The second chapter focuses on the formation of painting language, the background of transformation and the affecting factors of classical style oil painting since the1990s. The third chapter analyzes unique features of the classical style portrait oil painting language since1990s by comparing it with that of1980s from the content and theme, aesthetics ideas and material skill method. The fourth chapter analyzes the painting language of the representative classical style portrait painter of this period, with which to explore their personality traits and spiritual core in composition, shape, color, technique, theme, taste, etc. The fifth chapter gives suggestions on modernity, aboriginality and transition of the language of classical style painting. These five chapters make up the main framework of the paper.In conclusion, we state that first, the study of classical style portrait oil painting has been moved from material techniques to spirit and humanity concerning after20years’ development. theme, technique expand further integration. Second, comprehensive study is necessary because the study of classical languages cannot be limited in the style of techniques but the style and orientation should be closely related with personality, aesthetic, social environment, ideology, national spirit and the theme. Third, the study is not only an important issue in contemporary Chinese art history since the1990s, but also a vital realistic problem in sustainable development. Though there are many difficulties and bottlenecks, we still trust that fruitful achievements will be obtained in the near future with the future merge of oriental spirit and western realism techniques.更多还原