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民族心理对油画的影响
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作者 刘晖 《科技信息》 2008年第16期56-56,共1页
在二十世纪中国油画的发展中,我们民族的文化心理特征的作用,是一个大的艺术研究课题。过去我们一向对于油画受着中国社会变革形势的制约这个它律性问题都予重视;相形之下,对于民族文化以下这个方面(也可以看作艺术的它律性方面之一)却... 在二十世纪中国油画的发展中,我们民族的文化心理特征的作用,是一个大的艺术研究课题。过去我们一向对于油画受着中国社会变革形势的制约这个它律性问题都予重视;相形之下,对于民族文化以下这个方面(也可以看作艺术的它律性方面之一)却比较忽视一些。八十年代以来,我国在中西绘画比较方面注意有所学习,但是把问题提到文化心理特片这个更宽层次上面来却很晚才注意到。中国油画家还必须在前者的基础上融会东方文化审美意识和中国优秀文化传统,关注当代社会和人的生命价值,这样才能全面深入地研究和体验这门传统绘画艺术并有所创造。 展开更多
关键词 “油画” “民族” “文化心理特征” “素描” “宗教”
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浅谈油画中的构图美及创作运用 被引量:1
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作者 孙鑫 《新纪实·学校体音美》 2019年第11期173-173,共1页
本论文先从现代油画审美的发展开始论述,从油画整体的构图审美发展变化历程到在中国油画构图审美发展趋势由大到小探讨构图发展,后简单阐述构图美在油画创作中起到作用及运用,最后作者就现状对构图展开合理的推测。
关键词 “油画” “构图” “创作运用”
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“油画民族化”的两种表达样式之比较
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作者 张镭赋 《美术教育研究》 2014年第15期15-16,共2页
文章试图通过对董希文在"油画民族化"实践中两种不同表达样式进行比较,以期通过这种方式更为全面、客观地认识这位以其气度恢宏的作品阐释时代精神,而又富于中国风格的油画家、美术教育家的创作实况。
关键词 “油画民族化” 董希文 表达样式比较
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Example based painting generation 被引量:1
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作者 GUO Yan-wen YU Jin-hui +2 位作者 XU Xiao-dong WANG Jin PENG Qun-sheng 《Journal of Zhejiang University-Science A(Applied Physics & Engineering)》 SCIE EI CAS CSCD 2006年第7期1152-1159,共8页
We present an approach for generating paintings on photographic images with the style encoded by the example paintings and adopt representative brushes extracted from the example paintings as the painting primitives. ... We present an approach for generating paintings on photographic images with the style encoded by the example paintings and adopt representative brushes extracted from the example paintings as the painting primitives. Our system first divides the given photographic image into several regions on which we synthesize a grounding layer with texture patches extracted from the example paintings. Then, we paint those regions using brushes stochastically chosen from the brush library, with further brush color and shape perturbations. The brush direction is determined by a direction field either constructed by a convenient user interactive manner or synthesized from the examples. Our approach offers flexible and intuitive user control over the painting process and style. 展开更多
关键词 Non-photorealistic rendering (NPR) Van Gogh PAINTING GROUNDING BRUSH
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康有为非“美术革命”论者——由《悲鸿自述》“信乎世界归来”一语引发的思考
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作者 王洪伟 《山东工艺美术学院学报》 2020年第1期75-84,共10页
《悲鸿自述》(1930)在评介康有为时有“信乎世界归来”一语,看似简率了无深意,却是对其师独特艺术变革观念的精炼总结。《万木草堂藏画目》中的“中国近世之画衰败极矣”等言语,长期被学界划归“美术革命”之论。然而,康有为的身份特征... 《悲鸿自述》(1930)在评介康有为时有“信乎世界归来”一语,看似简率了无深意,却是对其师独特艺术变革观念的精炼总结。《万木草堂藏画目》中的“中国近世之画衰败极矣”等言语,长期被学界划归“美术革命”之论。然而,康有为的身份特征与政论思想,决定其变革诉求与陈独秀等新文化运动知识分子的有本质性区别。可以肯定,他们对艺术变革未来“世界”所属国家秩序的思想性建构完全不同。康有为倡导的“虚君共和”主张与《画目》所列“国朝画”之间存有内在的制度性关联。“宋人画为西十五纪前大地万国之最”“油画出自吾中国”等论说,一方面有着荒诞无稽的“万事纯任主观”的康氏论调,另一方面浓郁地体现出一位晚清士大夫期盼古老民族能够在严峻的文化冲突与融合语境中迈向高层文明的忧患意识。 展开更多
关键词 康有为 陈独秀 “美术革命” “虚君共和” “油画出自吾中国”
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He Duoling:Spring Wind Comes Again
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作者 Gao Quanxi 《China & The World Cultural Exchange》 2006年第10期16-18,共3页
On linen canvas and with oil pigment, He Duoling creates lyrical depictions of youth, women, villages, frontier communities, life and crows, expressing sorrows and confusions deep in his mind. It is impressive that he... On linen canvas and with oil pigment, He Duoling creates lyrical depictions of youth, women, villages, frontier communities, life and crows, expressing sorrows and confusions deep in his mind. It is impressive that he has removed his passion from paintings with his chisel and only left cold and distorted images for viewers to grief and ponder over. That is really the wisdom of Sichuan natives. 展开更多
关键词 四川 何多苓 画家 油画 绘画风格 绘画评论
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Comparative Study on Freehand Brushwork Oil Painting and Expression Oil Painting in Chinese Painting Art and the Western Painting Art
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作者 Guizhong MA 《International Journal of Technology Management》 2013年第10期55-56,共2页
Through the comparative analysis of freehand brushwork oil painting and expression oil painting, the similarities and differences between the two sides are understood. As a result, when the characteristics of the two ... Through the comparative analysis of freehand brushwork oil painting and expression oil painting, the similarities and differences between the two sides are understood. As a result, when the characteristics of the two sides are effectively known, the blend and complementation of the two sides are realized, and also the space for expressing both freehand brushwork oil painting and expression oil painting is expanded, which are not the simple blend and mix of "freehand brushwork" and "expression" . 展开更多
关键词 Freehand Brushwork IMAGE REPRESENTATION EXPRESSIONISM
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Analysis on the Developmental Trend and Characteristics of Modern Oil Painting from Perspectives of the Texture and Color
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作者 Xinghua Wang 《International Journal of Technology Management》 2016年第8期4-6,共3页
In this paper, we conduct research on the developmental trend and characteristics of the modern oil painting from perspectives ofthe texture and color. Image oil painting is not just a simple art genre and style, it i... In this paper, we conduct research on the developmental trend and characteristics of the modern oil painting from perspectives ofthe texture and color. Image oil painting is not just a simple art genre and style, it is a western oil painting the foreign art in the Chinese culturalenvironment to generate the types of oil painting is a kind of Chinese national culture characteristic of painting art for the purpose of art topresent true feelings and true feelings should be created by the artist’s technique, form, style, texture effects such as external factors. And manyof the current oil painting art works are showing the true feelings, because of the wrong style, texture and other external factors as the purpose ofart. Master of art means the long-term growth path is essentially in express their true feelings, and to form the style need to constantly supplementand perfect process. We provide the novel perspective on the corresponding issues that will be meaningful and important. 展开更多
关键词 Texture and Color Developmental Trend Oil Painting MODERN General Analysis.
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Path to the Development in Oil-Painting in Vietnam
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作者 Nguyen Van Doan 《Journal of Literature and Art Studies》 2017年第3期313-318,共6页
From the ancient time, when knowing how to draw, humans deliberately sought for good materials for drawings and wish their colors to be durable. Also from the ancient age, we, humans, knew to mix colors with oil to dr... From the ancient time, when knowing how to draw, humans deliberately sought for good materials for drawings and wish their colors to be durable. Also from the ancient age, we, humans, knew to mix colors with oil to draw. Materials at the time, however, were very gross with many shortcomings and limitations. Over the time, many generations of painters have taken great pains to search for materials and craped for paint. Nevertheless, only until the age of Van Eyck brothers (around 1390-1441) they gained great success in accomplishing and developing oil-painting techniques. Oil-painting colors until this age got purer, brighter, shinier, waterproof, sustainable, and endurable with time. Since then, oil-paint has been widely used in almost countries worldwide. It can be said that the accomplishment of oil-paint is a great technical revolution that changes and enhances the picture painting art. The painting ofoil in English means oil painting. It is the kind of the most popular and favorite pictures. It is called as the name of painting material. That is the oil paint that can be drawn on wooden, metal, and canvas surfaces, etc., Oil kinds with different materials will bring about kinds of oil paints with differentiated attributes. Oil paintings by Indian painters firstly appeared in those on Buddhism and they came to China from the 5th to 10th centuries but only until the 15th century, oil paintings got popular and developed. Oil paint finally became the key tool for painters to transfer into artistic works. 展开更多
关键词 Vietnam oil paintings the formation of roads
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Reconstruction of Images-- Realistic Oil Paintings
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作者 Hongwu Gao 《International English Education Research》 2014年第7期16-17,共2页
Realistic oil painting and abstract oil painting is easel plastic arts. And it is realism of style and presentation. The current Chinese realistic oil painting is the product of local culture. The construction of Chin... Realistic oil painting and abstract oil painting is easel plastic arts. And it is realism of style and presentation. The current Chinese realistic oil painting is the product of local culture. The construction of Chinese oil paintings doesn't follow modem art, and it has its own soil and space of survival and development. It becomes the mainstream in the art pattern. In practical construction, it presents the characteristics that technical level develops towards simplification and reinforcement, the function of lyric ideogram of paintings and graphic description becomes weak, the real transformation of three-dimensional space is transferred to reconstruction of two degree and a half space and the pursuit for language form constitution relation of paintings. And it presents strong symbolization feature. 展开更多
关键词 realistic oil paintings two degree and a half space symbolization.
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40年,一路动人心弦的展览
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作者 柳冬 《今日中国》 2003年第10期32-33,共2页
中国美术馆主楼在1962年落成后,当年举办的第一个展览是第三届全国美术展。1963年中国美术馆正式开馆那年,举办了徐悲鸿逝世10周年纪念展,齐白石诞辰100周年纪念展等,这座国家美术馆从此成为中国美术的最高殿堂,至今已走过了40年历程。
关键词 中国美术馆 美术展览 “油画人体艺术大展” “罗丹艺术大展” “齐白石大展”
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Yu Chengsong and His Composite Oil Print
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作者 Xin Yuan 《China & The World Cultural Exchange》 2006年第2期12-15,共4页
Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, Engl... Yu Chengsong and his composite oil print works were I first known to the art circle in 1993 when he published a 35-volum painting album on Chinese landscape. The album, printed in six languages including Chinese, English, Japanese and French, was distributed worldwide. In order to create this album, Yu traveled across the country on his own expenses. He painted the most marvelous and beautiful landscapes in China, 展开更多
关键词 In
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Combustion Characteristics and Emission of a Two-Stroke Compression Ignition Engine with Two-Stage Injection
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作者 宋军 吕兴才 +1 位作者 李孝禄 黄震 《Journal of Shanghai Jiaotong university(Science)》 EI 2007年第1期53-60,共8页
In order to study the effect of two-stage injection on two-stroke diesel engines, a well characterized research engine equipped with electronically controlled common rail system and scavenging system was constructed. ... In order to study the effect of two-stage injection on two-stroke diesel engines, a well characterized research engine equipped with electronically controlled common rail system and scavenging system was constructed. Through analysis of combustion and emissions, two-stage injection shows its advantages. Compared with the standard injection, it produces less emissions, while compared with single early injection, it expands engine operation range. Further experiments were carried out to study the influence of several injection control parameters on two-stage injection. The fuel in the first injection is used for forming homogeneous mixture. The fuel in the second injection keeps combustion, and it is the main source of smoke emissions. NO_x is formed in both combustion process caused by these two injections, and there is an optimum fuel allocation ration to produce minimum NO_x. The cylinder pressure decreases, and the combustion is depressed with the increasing of scavenging pressure. By optimizing the injection control parameters of two-stage injection, NO_x and smoke can be reduced beyond 30% simultaneously. 展开更多
关键词 two-stage injection TWO-STROKE diesel engine COMBUSTION EMISSION
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告别“油画民族化”思维定势 被引量:3
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作者 武明中 《美术研究》 北大核心 2006年第2期61-63,共3页
本文对“民族化”的概念进行探讨,进而讨论“油画民族化”概念在中国的产生与发展,讨论了“油画民族化”与当代多元文化与艺术家个性创造的关系,提出要关注现实生活,注重当代问题。
关键词 “油画民族化” 个性创作 多元文化 意识形态 民族艺术
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美术教育主导的中国油画“全盘苏化”
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作者 董可木 《文艺研究》 CSSCI 北大核心 2009年第12期163-163,共1页
中国的美术院校,是20世纪初期学习欧洲和日本美术教育的产物。中华人民共和国成立以后,将原来体制混杂的美术院校,归并为隶属于中央或各个省区的专业学校。
关键词 美术教育 中国 油画 苏化
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歧路亡羊——“油画民族化”是一个误区 被引量:1
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作者 颜亮 《美苑》 2003年第4期2-3,共2页
近几年来屡屡有人提“油画民族化”,并试图将其树立为中国油画前进道路上的路标,指引中国油画发展的方向。“油画民族化”乍听觉得挺有道理,可认真一想就不难发现其中的问题。什么是“油画民族化”?要是我没理解错的话,就是使油画作品... 近几年来屡屡有人提“油画民族化”,并试图将其树立为中国油画前进道路上的路标,指引中国油画发展的方向。“油画民族化”乍听觉得挺有道理,可认真一想就不难发现其中的问题。什么是“油画民族化”?要是我没理解错的话,就是使油画作品呈现民族风格。那什么是艺术的民族风格呢?“艺术的民族风格,是民族文化和心理在艺术中显现出来的风格特色。”(张道一主编《美术鉴赏》,高等教育出版社1998年版,第97页)让我们再来了解一下民族的概念。“民族是特指具有共同语言、共同地域、共同经济生活以及表现于共同文化上的心理素质的人的共同体。”(中国社会科学院语言研究所词典编辑室《现代语词典(修订本)》,商务印书馆1996年第884页)由此可见,同一民族的人是具有共同文化上的心理素质的。也就是说同一民族的人以油画这一载体表达思想。 展开更多
关键词 “油画民族化” 民族风格 民族文化 艺术风格 西方文化 写实主义
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戴泽:20世纪博物馆典藏修复事业个案研究
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作者 张天成 《艺术博物馆》 2022年第1期102-111,共10页
在20世纪中国美术发展进程中,戴泽是作出突出贡献的艺术家与德艺双馨的美术教育家。在20世纪中国博物馆事业中,戴泽更是一位作出过卓越贡献的艺术前辈。然而,有关戴泽在博物馆事业中的卓越贡献于史料却寥若晨星,社会及公众对他的认知,... 在20世纪中国美术发展进程中,戴泽是作出突出贡献的艺术家与德艺双馨的美术教育家。在20世纪中国博物馆事业中,戴泽更是一位作出过卓越贡献的艺术前辈。然而,有关戴泽在博物馆事业中的卓越贡献于史料却寥若晨星,社会及公众对他的认知,常常也仅是管中窥豹。本文通过对戴泽的日记、访谈、档案、信函等第一手资料以及其他材料进行梳理和分析,以时间线索为主线,阐述戴泽所处的时代背景,归纳总结戴泽与徐悲鸿纪念馆典藏作品尤其是油画作品《徯我后》修复、戴泽与颐和园《慈禧像》保护等历史事件,进而讨论戴泽与20世纪博物馆典藏修复这一重要问题,以丰富公众对戴泽在博物馆典藏修复事业中的认知。通过对戴泽在博物馆事业中所做出的前瞻性思考与开拓性实践进行深入研究,使得戴泽的形象更加完整丰满,并探讨戴泽个人经验融于时代的可能性,给予现今博物馆事业借鉴与启示。 展开更多
关键词 戴泽 “徯我后” 博物馆典藏 “油画修复”
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