"Disenchantment"and"Poetry"

"Nationalization of oil painting" is a phenomenon that cannot be ignored in the development process of Chinese oil painting.This article's research on this phenomenon is not limited to the artistic phenomenon after the emergence of this specific term,but it is a practice of applying this awareness to Chinese oil painting artists.The beginning of this phenomenon can be traced back to the 1920 s,that is,the time when Chinese painters began to consciously learn Western oil painting.Many pioneers in the field of oil painting,such as Xu Beihong,Lin Fengmian,and Liu Haisu,can be regarded as representatives of this phenomenon.This article selects Luo Gongliu,a character who has promoted this phenomenon after the term "nationalization of oil painting" appeared in a fixed form,and after a certain influence in the society and the art world,conducted a case study.Based on the experience of previous generations,taking the aesthetic orientation of Luo Gongliu's oil painting as the starting point,based on looking through historical literature and analyzing the composition of the picture,the author concludes that the nationalization of his oil painting can be divided into two At the stage,there is a clear tendency of aesthetic orientation.In the early stage,the term "disenchantment" can be used to summarize it.In the later stage,the aesthetic image of "poetic" is reflected.This article takes this understanding as the starting point and discusses it in detail in conjunction with paintings,art theory,and historical literature.This thesis is divided into seven parts:The first chapter,as the introduction of this thesis,mainly includes the research background,research purpose and significance,the research methods used,and the status of domestic and foreign research related to this topic,and the analysis of relevant literature.Chapter two,on the basis of controlling the full text,first of all sorts out the conceptual origin and development of the term "nationalization of oil painting".After basically explaining the historical origin of the development of the term,it starts with" The famous theory of "Nationalization of Oil Painting" and the prosperity of the three oil paintings set up a framework of crossover,and then analyzed the time and space relationship of Luo Gongliu's nationalization of oil painting.In chapter three,first of all,the classification of Luo Gongliu 's oil painting nationalization is briefly classified,and then the original orientation of the oil painting before and after the nationalization of the words “disenchantment” and “poetic”are explained in combination and combined His specific oil painting creation practice further explained the specific meaning and performance of these two aesthetics in the process of the nationalization of Luo Gongliu's oil painting.The fourth chapter mainly seeks the reasons for the aesthetic orientation of Luo Gongliu's early oil painting nationalization,which can be summarized into three aspects: national level,art development level,historical experience and lesson level.In fifth chapter,Luo Gongliu's "poetic" feeling is reflected in his paintings during the nationalization of oil paintings in the later period.This is also a concrete manifestation of his aesthetics.In order to create this effect,Luo Gongliu tried differently.The author classifies his experiments as color,space,and artistic conception,and attempts to interpret them.The sixth chapter discusses the influence of the two aesthetic orientations of Luo Gongliu's oil painting nationalization.The most important influence is manifested in the oil painting research class he chaired that year,and it also has certain effects on some oil painting groups in modern society.This is all my concern.In the conclusion,the nationalization of Luo Gongli's oil painting is an importantnode for the nationalization of the entire Chinese oil painting.Although the“nationalization of oil painting” is no longer a proposition or expression angle that the artist values for the creation of oil painting,Luo Gongliu's The nationalized aesthetic orientation reflected in this process and the methods and methods adopted to express this aesthetic feeling,as well as his mode of thinking,are still somewhat desirable for today's slightly confused and weakly creative oil paintings.Somewhere.