比较视域下中国油画审美形态研究

【作者】 何小勋；

【导师】 陈世宁；

【作者基本信息】 南京艺术学院 ， 美术学， 2014， 博士

【摘要】 百年以来，中国油画在引进、学习西方油画样式的基础上，融入本土文化主题和审美传统，在作品审美观念和语言层面都产生了有别于西方本源的因素。对这些因素在历史生成基础上的总体特征分析是审美形态学考察的主要目标。中国油画审美形态是百年以来中西文化交流历史背景下的文化生态系统，其研究内容主要包括包括以下三个方面：一、中国油画审美形态发展进程中体现的西方传统与本土变奏。二、中国油画审美形态多元并进的、复杂的类型化格局。三、中国油画的历史成就与思考。在审美形态学的研究框架下，文化的历史和当下情态是构成中国油画审美形态研究的基本背景。历史演变的描述可视作中国油画在既往时间中的传统及变化，它是一个纵向的动态过程和情态描述。通过对中国油画在不同历史阶段和社会文化形态下的观念、语言的演变进行归纳，在百年以来在不断的对西方油画进行学习、模仿、变异和创新的过程中，见到中国油画在审美观念和语言层面的自主选择。这一部分的内容着重典型画家及其作品分析，同时也为论文后续内容提供概念和逻辑分析的史料基础。这是对中国油画审美形态这一文化概念的历时性描述。在历史描述的基础上，第二方面侧重于横向的风格类型分析，即百年以来中国油画在历史选择中形成的传统写实、意象与表现两种主要审美形态类型的作品表现和基本概念。对其主要风格类型的观念、语言和基本特征进行论述。并指出其在基本要素和总体特征层面与西方本源的差异。两种类型的划分是以文化价值观原则下的“大风格”为标准进行的，由于当代中国社会文化的复杂性，也造就了当代中国油画审美形态类型多样并存的复杂面貌。此为中国油画审美形态在共时性层面表现情态的总体归纳。第三部分是在前两方面的演变生成研究和类型化的观念和语言分析基础上，对中国油画在历史中形成主要成就和不足进行分析与思考。中国油画在向西方学习和在本土文化情境中演变中，形成了具有本土文化价值观特征的审美形态，成为当代中国文化生活具有很大社会影响力的艺术形式，在规模和水准上都取得了很大成就。就现状来思考，与西方油画相比，由于历史客观和社会文化影响的双方面原因，中国油画在精神表达和形式语言方面还存在诸多不足。以“本土性、当代性、个性”这一大原则为出发点，可以对中国油画的现状有启发意义。通过对上述三方面的叙述，可以看出，中国油画在百年以来的历史流变中，形成了源自西方、但又深受中国历史传统和20世纪以来的现代社会现实和意识形态影响的审美观念和语言形式特征。多元并存的复杂化风格类型格局和一直以来的本土化主题是其主要的表现。在历史演变中，中国油画取得了很大艺术成就和社会影响，但在本体性的形式语言和精神表现层面与西方油画相比，还存在很大不足，有待深入思考。更多还原

【Abstract】 Since one hundred years ago, on the basis of introducing, learning western painting style,mixing with the local culture theme and the aesthetic tradition, Chinese oil painting has made its ownfactors different from the western factors of generating source. The general description of these factors onthe basis of historical generation is one of the main targets of aesthetic morphology inspection. Under theresearch framework of aesthetic morphology, cultural history and the present modal has constituted thebasic background of Chinese oil painting aesthetics research. Aesthetic form of Chinese oil painting isactually the cultural ecological system for a hundred year, under the background of Chinese and westerncultural exchange history, its main research contents includes the following three aspects:The first is the history of Chinese oil painting and rheological descriptions (free introducing andspreading at early time, concept and language unilateralization at medium term and the tendency ofcontemporary diversified values at present age).The second shows the research on the main types of Chinese oil painting aesthetics (includingtraditional realism, imagery and performance, modern ideas).The last is the analysis of Chinese oil painting aesthetics’ cultural identity composition (includinglanguage, image, ideas).The description of its history can be seen as the change of traditional Chinese painting in the past. It is adynamic process and the modal of a vertical description by summarizing the Chinese oil painting’s concept,language developments and its change under the different historical stages and the social cultural forms.During the process of learning, imitation, variation and innovation from the western oil painting, we see theChinese oil painting now has its own independent choice in the aesthetic idea and language level. This partfocuses on the content of the analyzing typical painters and their works, providing the basis to thefollowing concepts and logical historical data. It is the diachronic description of aesthetic form of Chineseoil painting.On the basis of the historical description, the second aspect focuses on the horizontal style analysis, thatis the work performance and the basic concepts of the main Chinese oil painting aesthetics in traditionalrealism, imagery and several main performances, the concept of modern art which has been formed inhistorical choices for a hundred year.The main style of the essay discusses the ideas, language and basic characteristics of the type. And itwill point out its basic elements, language characteristics and the main styles. Then it will go on to comparethe differences with the west source in the basic factors and the general features aspects. The division of thethird type is in accordance with cultural values principle of “great style”. Because of the complexity of thecontemporary Chinese society and culture, the contemporary Chinese oil painting has the complex featuresof various types of aesthetic ideology coexisting together. This is a Chinese oil painting aesthetics overallinduction in the synchronic level overall of modality.The third part is the body composition analysis, it is in the first two aspects of the concept of historicalresearch and typing and language analysis, based on the comparison of Chinese and western culturalbackground, to Chinese oil painting as a special case of the Chinese culture since one hundred andmicrocosm, the Chinese oil painting in the cultural psychological level of performance is analyzed andsummarized. In language, image and the concept of three integrated cases are more likely to see Chinese oilpainting in the contemporary cultural environment of complete modal. The realistic language of themainstream status, influence style potential but deep inside, the concept of modern art and the action of theconcrete and real life subtle expression is miss and the language of the contemporary Chinese oil painting.This is the Chinese oil painting since one hundred under the comparison between Chinese and westernculture consciousness of self consciousness of cultural identity.Through the above-mentioned three aspects of narrative, it can be seen that Chinese oil paintingformed from the west, but also by the Chinese historical tradition and the modern society since the20thcentury the influence of cultural ideas and ideology aesthetic idea and the language form characteristic inthe history of one hundred years since the rheological. The history of Chinese oil painting has been underthe comparison between Chinese and western culture psychology of social beings, is the western art inChinese society and culture situation, diversification and complication of the aesthetic values ofinterpretation.更多还原