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近年来,随着当代艺术和新媒体艺术的兴起,传统绘画在夹缝中也逐渐通过自身的变革找寻到新的语言方式并取得发展。具体表现在:其一多数艺术家开始更加主动的结合中国文化的精神内涵寻求油画本体语言的探索与突破,较之以前单纯的模仿西方绘画样式显得更加自主和成熟。其二,除了绘画语言上的纯化与本体探索外,艺术家也从图式和综合材料的运用上努力实践创新。新疆地域的体貌特征和独特的文化内涵使得传统单一的油画表现技法很难立体的表达其内涵,故很多艺术家以综合材料介入油画创作,使油画有了新的面貌和生机。本文以新疆题材元素为研究线索,综合材料在油画中的运用为分析切入点,谈谈综合材料的介入在新疆油画创作中的应用。
In recent years, along with the rise of contemporary art and new media art, traditional painting has gradually found its own new language and developed through its own changes. The concrete manifestation is that one of the most artists began to seek and explore the ontology language of oil painting more initiatively in accordance with the spiritual connotation of Chinese culture, which is more autonomous and mature than the simple imitation of western painting style. Second, in addition to the purification and ontology exploration of the language of painting, the artist also tried hard to innovate from the application of schema and comprehensive materials. The physical characteristics and unique cultural connotation of Xinjiang region make it difficult for the traditional single painting technique to express its intension in three dimensions. Therefore, many artists intervene in the creation of oil paintings with comprehensive materials to make the painting have a new look and vitality. In this paper, the subject matter of Xinjiang is taken as the research trail. The application of composite materials in oil painting is the starting point for analysis. The article discusses the application of synthetic materials in the creation of Xinjiang oil painting.