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双语推荐:油画

多年以来,乡土人物题材成为中国油画的主要创作元素,其深沉的文化内涵和温馨的家园意识凝聚了中国油画诸多的博爱思想和情感依附,并构成唯一一个以题材冠名的油画类别—乡土主义油画。在当代油画创作中,乡土人物题材已经成为不同油画风格的表现主题,诸多画家采用不同的创作观念、表现技法和绘画语言,从自我的艺术个性出发践履着这一题材在中国油画中的多元风格构成。本质上说,题材并不属于油画的本体范畴,但是从题材入手来研究中国油画的文化内涵与审美特征,对于当代油画而言将是一个新的研究路径。
For many years, the rural figure material has been becoming the main creative element in China oil-painting, whose cultural intension and homeland consciousness contained many universal love and emotional attachment. At the same time, this creative element has composed the only one oil-painting category:the ruralism oil-painting. Today, the rural figure material has already turned into themes for different styles, many painters take different conceptions, technical and drawing languages to express these themes in different styles, so, studying this material will be a new path to China modern oil-painting.

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中国油画民族化历程是一个从不同层面逐步推进的实践性过程,这是油画在中国发展的唯一出路。进入中国之后的油画,其民族化过程中遭遇了不少质疑,很多人对其民族化有着一定的认识误区。针对这些认识误区,提出基于全球化背景下的中国油画民族化的发展建议,指出中国油画民族化的道路应该是继承欧洲油画的基底,并深刻融入中国民族意识和民族精神的发展道路,只有这样,中国油画才能在世界舞台上赢得自己的天地。
Nationalization of Chinese oil painting is a gradually practical process at different levels , which is the only way out for oil painting in China .Nationality of oil painting in China has aroused so many worries and many people have a misunderstanding of it.Therefore, we put foreword some globalised rethinking on the basis of these misunderstandings .That is to say, nationalization of Chinese oil painting should inherit European oil paintings ’ rules and then receive Chinese national spirit and consciousness .Only in this way can nationalization of Chinese oil painting win their own world in the world .

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中国传统民俗文化博大精深,是当代油画家进行艺术创作的肥沃土壤。油画家只有不断汲取中国民俗文化的养分,在油画创作中融合民俗文化的精髓,体现出民俗文化的精神内涵,创作出具有中国民族特色的油画艺术作品,方能立足世界油画之林。
The Chinese traditional folk culture is broad and profound and it is the fertile soil for art creations by the modern painters.Only if do the oil painters constantly learn from the nutrients of the Chinese folk culture , integrate the essence of the folk culture with oil paintings , reflect the spiritual connotation of the folk culture and create works of art of oil paintings with Chinese national characteristics , can they erect in the forest of world oil paintings.

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中国油画的百年史是一段学习与创新的历史,是数代艺术家们自觉地探索中国油画自己道路的历史。作为中国自觉探索油画民族化的著名艺术家和典型代表,吴冠中毕生致力于油画民族化和中国绘画现代化的研究与探索,他在油画中探索民族化,在水墨中寻求现代化,冲出了画种的藩篱,为当代艺术创新提供了全新的审美方向,为中国油画和传统水墨的发展开辟了新的道路,创造性地将中国艺术的精神与风貌推向了世界。
Chinese oil painting history with hundred years is a period of learning and innovation, and in this period artists always explore Chinese oil painting's path of its own. Wu guan--zhong, as the outstanding and famous artist, who always devotes to exploring Chinese oil painting' s nationalization and Chinese painting' s modernization is one of representatives. He explores painting's nationalization in oil painting and pursuits painting's modernization in wash painting, which breakthroughs the es- trangement in different paintings,offers contemporary art innovation of new direction of esthetic,creates a new path for Chinese oil painting and conventional wash painting, and creatively introduces Chinese art spirits to the world.

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中国油画在改革开放的潮流下自在地走过了三十多年,本土油画家受到了观念洗礼,将西方风格流派从样式到理念轮番演绎。虽然在创作中融入了些现代意识元素,但由于文化的缺失、品位的流俗,呈现在公众面前的作品,虽貌似在“创新”的意识下创作,但仍未见多少实际意义上的新作。本文以西方写实绘画中再现形象意义为线索,分析探寻中国油画取向,寻求中国当代学院油画教学的基础。从而期盼中国油画能在向西方借鉴的百年之后,创造出以西方油画形式表达中国深厚文化底蕴的当代油画,弘扬社会主流价值、提升油画品格。
Chinese oil painting has gone through more than 30 years of free development in China’ s re-form and opening up trend, and local artists have been baptized by the western concepts, and have taken turns to display the western genre from style to concept. Although some modern thinking has been integrated into the creation of paintings, due to lack of culture and vulgar taste, there are very few paintings that have real sense of being innovative though seemingly under the cover of “innovation”. With reproducing image meanings in western realistic paintings as a clue, this paper explores the orientation of Chinese oil painting and seeks to find the foundation of oil painting teaching in contemporary Chinese colleges. It hopes that after one hundred years of learning from the west, Chinese oil painting circle can create in the form of western painting Chinese pieces that can express profound Chinese culture so as to carry forward the mainstream values and improve the quality of

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中国民间美术作为我国传统文化的重要组成部分,在当代油画领域里起着不可或缺的作用,但在深究之下,并非所有的民间美术都可应用在油画中。而对于目前带有民间美术特点的油画作品,我国评判标准也未能做到与时俱进。更重要的是,培养高校油画专业学生对于民间美术的认识也仅限于纸上谈兵,并未能渗透其深意。因此,笔者从以上三个方面进行探讨研究,希望能对带有民间美术风格的油画创作起到一定积极作用。
As an important part of Chinese traditional culture, Chinese folk art plays an integral role in the field of contemporary oil painting. But getting into the depth of it, not all folk arts can be applied in the oil paintings. As for the current oil paintings with the characteristics of folk art, our criterion also failed to keep pace with the times. More importantly, the cultivation of college students for folk art painting major is limited to an armchair strategist, and failed to penetrate its meaning. Therefore, the author discusses research from the above three aspects, to hope to play a positive role to oil paintings with folk art style.

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深圳市龙岗区大芬油画村从20世纪80年代末一个普通的城中村发展成为如今以油画为主的文化产业基地。在这发展过程中,大芬油画村"特殊村民"——画工的居住成本不断攀升,对产业的发展造成了一定的影响。本文通过深入访谈及调查问卷的方法从三方面分析了这种现象产生的原因,一是从大芬油画村"特殊村民"居住空间的生长发展过程,二是从大芬油画村"特殊村民"居住成本的对比分析,三是从影响大芬油画村"特殊居民"居住成本的三方利益主体间的博弈关系。最后基于居住成本变化的分析结果对大芬油画村未来的发展提出了建议。
Dafen painting village, which is located in Longgang district in Shenzhen, has developed from a city village into a cultural industry base since 1980s. During this development process, "special villagers'' - painters'' living costs are constantly rising. This study investigated and explored the reasons of this phenomenon and its impacts on the painting industry within three aspects. First, the growth and development process of the living space in Dafen painting village was described. Second, the survey of special villagers'' living cost was conducted. Further, the triangle relations among different stakeholders were analyzed. Finally, based on the result of analysis, recommendations for the future development have been brought out.

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作为19世纪夜景油画最有代表性的画家之一,梵高绘制了《星月夜》、《罗纳河畔的星夜》、《夜间的露天咖啡座》等具有极强表现力的作品。本文从夜的符号、夜的层次、夜的空间效果等表现角度等角度欣赏梵高的夜景油画,以期展现出夜景油画的艺术特色与魅力,显示出夜景油画广阔的发展空间。
As one of the most representative night scene painting painters of 19th century, Van Gogh painted strong expressive works like The moon night, The Rhone River starry night, The night of the open-air cafes, etc. From aspects of the symbol of the night, the level of the night and the space effect of the night, Van Gogh ’s oil paintings are appreciated in order to show the artistic features and the charm of night scene paintings, as well as the night oil painting broad space for development.

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本文针对油画风景画创作中写生作为一种基本功训练所具有的基础性作用展开了详细的论证,并简要阐释了写生在油画风景创作中的应用、技巧、理念和发展。对于当代油画风景写生过程中应如何确立写生意识以及应树立怎样的写生意识进行了解说。对当代油画风景写生的发展具有一定的指导作用。
Sketching is a fundamental training pattern in the creation of oil painting and landscape painting.This passage pres-ents detailed argumentation on the basic influence of sketching and briefly explains the application,techniques,conception and development of sketching in the process of landscape creation of modern oil painting.It has explained how to establish the sketch awareness and what sketch awareness should be set up in the process of the sketching of contemporary oil painting, which has certain instructive effects on the development of contemporary oil painting landscape painting.

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具象油画要摆脱传统与自然的束缚而得到进一步拓展,需要研究画面的形式语言,研究构成画面的诸多元素,其中发现并研究具象油画形式语言中的抽象元素必不可少,无论采取何种风格的具象油画创作都带有积极的探索意义。改变我们早已习惯的观察方式和角度,将客观物象中的抽象元素主观进行提取、概括、强化并赋予一定的节奏与旋律。是现代具象油画的一条发展途径。本文从具象油画中的"势"、"调性"、"黑白灰"、"点线面"、"肌理材料"等抽象元素解析具象油画的形式语言,以利于指导其创作实践。
It is necessary to research painting languages to promot figurative oil painting free from bound of tradition and nature. What’s more, it is significant to explore any kind of creation of ifgurative oil painting for we change our original observation angles. Through extracting, generalizing and stressing abstract elements from objective items, we create not only certain rhythms but the development of modern ifgurative oil painting. The author analyzes ifgurative oil paintings’ form languages, such as: tone, black-gray-white; dot-line-face; materials- textures; momentum etc, to guide and inspire practice.

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