基于文化循环理论的油画作品研究——以“当代内蒙古草原画派”为例

Research on Oil Paintings Works Based on the Theory of Circuit of Culture——Taking “Contemporary Inner Mongolia Grassland Painting School” as an Example

本研究以当代内蒙古草原画派代表性油画作品为研究对象,通过文化循环理论模型,探讨该画派如何在现代化与全球化背景下传承和传播草原文化的独特价值。研究结合了艺术作品分析和文献研究,以全面掌握草原画派的艺术特征及其在当代社会文化背景下的传播与发展情况。研究结果表明,当代内蒙古草原画派的油画作品符合文化循环理论的表征、生产、认同、消费与规则五个环节,不仅成功传递了草原文化的核心价值和审美理念,还促进了跨地域、跨文化交流与对话。文化循环理论为理解当代内蒙古草原画派在当代文化生态中的角色提供了新的视角,揭示了油画作品如何成为文化传承和创新的重要载体。

This study takes the representative oil paintings of contemporary Inner Mongolia Grassland painting school as the research object, to discuss how this painting school inherits and conveys the unique value of grassland culture against the background of modernization and globalization, through the model from the theory of the Circuit of Culture. The research combines the analysis of artistic works and literature research to fully grasp the artistic characteristics of the grassland painting school and its spread and development in the contemporary social and cultural background. The research results show that, conforming to the five processes of Circuit of Culture theory, i.e., representation, production, identity, consumption and regulation, the oil paintings of contemporary Inner Mongolia Grassland painting school not only successfully conveyed the core values and aesthetic concepts of grassland culture, but also promoted the crossregional and cross-cultural exchange and dialogue. The theory of the Circuit of Culture provides a new perspective for understanding the role of contemporary Inner Mongolia grassland painting school in contemporary cultural ecology, and reveals how oil paintings become an important carrier of cultural inheritance and innovation.