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2016年11月,“北京当代中国写意油画研究院”成立,这意味着一个正式的学术团体的诞生,写意油画在中国的发展也迈向了一个新的阶段。写意油画是油画在中国百年的发展过程中逐渐清晰和明确起来的学术概念,是油画家们努力建构中国油画自身价值体系的一种文化自觉。范迪安先生说“写意油画重在从整个中国文化的传统中汲取知识、哲思与视觉造型方法,融汇西方油画的各种经验,在思想观念上体现基于时代感受与本土文化的主体意识。”写意油画在几代油画家不懈追求的基础上,呈现出一番新的景象,油画家赵培智正是当下写意油画语言探索的成功典范。在中西方艺术融合的基础上进行写意油画探索,形成了具有新疆地域特色的油画表现语言;在绘画本体语言研究方面为中国油画的发展带来新的可能。本文将从造型、色彩、空间关系,用笔技法等多方面进行阐述,分析其油画语言的建构方式。
In November 2016, the Beijing Institute of Contemporary Chinese Paintings was established. This means that the birth of an official academic body and the development of freehand oil paintings in China are also entering a new phase. Freehand oil painting is a gradual and clear academic concept of oil painting in the course of its development in China. It is a kind of cultural consciousness that oil painters strive to construct their own value system of Chinese oil painting. Mr. Fan Di’an said: “Freehand oil painting focuses on drawing knowledge, philosophizing and visual modeling from the tradition of Chinese culture, incorporating various experiences of Western oil painting, and embodying the subjective consciousness based on the feelings of the times and the local culture in terms of ideology. ”Freehand Oil Painting Based on the unremitting pursuit of generations of oil painters, the oil painter Zhao Peizhi is the successful example of contemporary freehand oil painting language exploration. On the basis of the fusion of Chinese and Western art, it explores the meaningless oil painting and forms the oil painting performance language with Xinjiang regional characteristics. It brings new possibilities for the development of Chinese painting in the field of painting ontology. This article will elaborate from the modeling, the color, the spatial relation, the pen technique, and so on, and analyzes the construction way of the oil painting language.