梅利尼科夫绘画艺术研究.doc
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1、 梅利尼科夫绘画艺术研究 A Study on the Paintingsof Andrei Mylnikov 论 文 摘 要俄罗斯美术是欧洲美术的一个重要组成部分,尤其是19世纪的批判现实主义和20世纪苏联时期的社会主义现实主义,都为推动世界现实主义美术的发展起到了积极的作用,并极大影响了新中国美术的发展。本文论述的内容主要涉及第二次世界大战后现实主义美术的转型阶段。这里所说的转型期是一个大的概念,是指从苏联卫国战争后直到世纪之交的半个多世纪俄罗斯美术逐渐转变的过程。当然这中间包括了两个比较明显的阶段:第一个是50年代,赫鲁晓夫当政之后政治上的“解冻期”,美术创作思想得到了很大的解放,苏联迎
2、来了社会主义现实主义美术的高峰;另一个重要的阶段是从戈尔巴乔夫改革开始,一直到1991年“八一九”事件之后,社会主义现实主义美术理念丧失了生存的环境,俄罗斯美术必然要寻找新的动力和源泉。梅利尼科夫.安德列.安德列依维奇 ( )能否在世界现实主义美术发展中占有一席之地,需要以后的美术史做出客观的评判。但他在苏联现实主义美术中的成就和地位是不容置疑的。他的艺术生涯贯穿整个卫国战争后俄罗斯美术的转型期。是当时世界流行的社会主义现实主义美术思潮中一个重要分支的代表人物。同时他还是一位杰出的俄罗斯美术教育家,培养了大批优秀的学生。他对卫国战争后俄罗斯美术发展的影响,超越了同时期许多优秀的艺术家。研究梅利
3、尼科夫的美术离不开卫国战争后俄罗斯美术转型的大背景。本文共分六个章节。第一章对卫国战争后俄罗斯美术的逐步转型做了简单的梳理。阐述苏联社会主义现实主义美术,是世界现实主义美术在20世纪的一个重要流派,虽然它被赋予了意识形态的标签,但它继承发扬了欧洲500年来的现实主义美术传统,在20世纪50年代后又大量吸收了包括印象主义和20世纪上半叶前卫美术流派的营养,使现实主义美术以一种崭新而多样的面貌出现。这个流派在苏联解体前后社会巨变的环境中,丧失了精神支柱,开始寻找新的原动力和艺术方向。第二章通过对梅利尼科夫早年艺术生涯的介绍,分析其艺术风格的成因。梅利尼科夫的艺术分为两大类:一类是大型主题性独幅油画
4、创作和壁画创作,梅利尼科夫在此类作品中能够把握时代脉搏,创作出和苏联至俄罗斯社会发展息息相关,具有深刻内涵的现实主义作品。另一类作品是梅利尼科夫的小型作品,这些作品摆脱了政治干扰,轻松地抒写了对自然、对人的爱,含有唯美的艺术追求。第三章分析梅利尼科夫的艺术风格并寻找他艺术语言的渊源。梅利尼科夫的艺术受到中世纪俄罗斯传统美术和欧洲古典美术的双重影响,同时他大胆吸收早期现代主义艺术的形式语言和传统中国画的写意手法,在主题性的绘画创作中把苏联式纪念碑美术的特点发挥到极致,但他的艺术和19世纪巡回展览派的艺术理念到手法有本质的区别,在同时期的苏联美术家中风格面貌也独树一帜。第四章论述梅利尼科夫是俄罗斯
5、重要的美术教育家。此章节首先介绍列宾美术学院的教学体系,梅利尼科夫是这一体系重要的维护者;之后介绍梅利尼科夫的教学主张,这些主张在20世纪80年代后在列宾美术学院的影响力越来越大。第五章讨论“梅利尼科夫学派”问题。此章节通过对这些梅氏弟子的逐一介绍,说明梅利尼科夫学派在苏联解体后的美术转型期仍然有很强的艺术生命力。结束语中介绍梅利尼科夫和中国美术的关系,他的艺术对新中国美术产生了影响。20世纪60年代之后,苏联美术的高峰期之后的俄罗斯美术在中国介绍甚少,对这一时期苏联美术的发展历程没有进行认真的梳理。本文通过对梅利尼科夫及其艺术的研究,力图梳理卫国战争后俄罗斯美术的进程,说明苏联社会主义现实主
6、义是人类现实主义美术的重要组成部分,讨论它的成就和得失。 关键词: 苏联转型期、社会主义现实主义、主题性绘画创作、纪念性绘画创作、现实主义形式化语言、现实主义写意画风 AbstractAs a majorpart of European painting, Russian painting, especiallyduringthe 19thcentury critical realism and 20thcentury Socialist realism of the Soviet Union, has played a vital role in shaping realist painti
7、ng around the world. It has also heavily influenced Chinese painting since 1949. The dissertation is mainly concerned withthe transitional period of the Realism in Russia after the post-WWII. Specifically, refers to the period from the end of the Great Patriotic War (1941-1945) tothe 21st century.Th
8、e first milestone was in the 1950s,after the Khrushchev “Thaw” emancipated the minds of Soviet artists which lead up to the vertex of Socialist realism in Soviet. The second milestone was during the Perestroika reforms initiated by Gorbachev, when the school of Socialist realist painting lost the so
9、il to sustain its growth and Russian painting had to seek a new driving force. Whether or not Andrei Andreevich Mylnikov (Russian: ) can be deemed as a key figure in the world of realist painting may depend on the verdict of future art historians. Meanwhile, his achievement and position in Soviet re
10、alist painting is beyond challenged. With his artistic career spanning the entire post-Great-Patriotic-War transitional period, Mylnikov represent one of the school of Socialist realist painting. He is also an outstanding educator, who has instructed a large number of great artists.His contribution
11、to the development of Russian paintings after the Great-Patriotic-Waroverwhelmed most of his contemporaries. The study on the paintings of Mylnikov cannot be conducted without an understanding of the critical period of traditional Russian art during the Post-Great-Patriotic-War. The dissertation is
12、divided into six chapters. The first chapter is briefly overview the gradual transitionof Russian painting after the GreatPatrioticWar. Socialist realist painting, despite its ideological label, is an important movement of realist form of art in the 20th century. It has inherited the 500-plus-year l
13、egacy of European realist painting since the 1950s.Soviet artists have embraced a wide variety of art forms under impressionist paintings and the first half of the 21th century of avant-garde art. Thanks to its contribution, realist style of paintings has rendered a new art scene.However, this schoo
14、l of painting lost its spiritual support in the midst of the political and social turmoil brought by the dissolution of the Soviet Union in 1991. It started a new source of inspiration and path of development. The second chapter traces the early artistic career of Mylnikov and analyzes how his uniqu
15、e style was formed. His art works fall into two types. The first type is large-scale single pieces of oil paintings and murals with themes. Beating with the pulse of the times, Mylnikov created many profound realist art works that reflect the social reform progress from the Soviet Union to Russia. T
16、he second type is small-scale ofworks that are free from political interference and skillfully depict the love of nature and men,which reflects his pursuit of aestheticism. The third chapter discusses the artistic style of Mylnikov and examines the sources of his artistic expression. In addition to
17、his influenced by both of the traditional Russian paintings of the Middle Ages and European classical paintings, Mylnikov adopted widely from the language of the early modern art and the freehand brushwork style of traditional Chinese paintings.Further, he fully expressed those methods on the creati
18、on of his Soviet-style monumental paintings. However, his art was distinctively different from the artistic philosophy and techniques of the Itinerants of the 19th century. Mylnikovs style was also different from his contemporaries during the Soviet-era. The fourth chapter focuses on his contributio
19、n of educational art in Russia. After describing the curriculum of the Repin Institute of Arts, the development and maintenance of which is largely attributed to Mylnikovs effort, the chapter describes his educational philosophy, which has been gaining more and more influence in the Institute since
20、the 1980s. The fifth chapter discusses the so-called Mylnikov School. By introducing all the pupils of Mylnikov, the author intends to prove that the Mylnikov School still enjoys artistic vitality in the transitional period after the dissolution of the Soviet Union.The last chapter explains the conn
21、ection between Mylnikov and Chinese painting. It is fair to conclude that his art has exerted influence upon post-1949 Chinese art. Unfortunately, Russian art after its Soviet peak has not been adequately introduced to China since the 1960s, and a comprehensive historical evolution of Soviet art dur
22、ing this period was forbidden. This dissertation intends to trace the evolution of Russian painting since the Great Patriotic War through the study of Mylnikov and his art. Also it proves that the mainly component of human realist art is the Soviet Socialist realism. Besides, discussion of the achie
23、vements and failures of Soviet realist painting also been arose. Key Word:transitional period of Sovietthe school of Socialist realist paintingtheme-based paintingsmonumental paintingsLanguage of realismRealism, Freehand Brushwork Style 目 录引言 /17 第一章 卫国战争后俄罗斯美术的转型 /23 第二章 梅利尼科夫的艺术生涯与艺术精神 /55 1 步入美术殿
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- 梅利尼科夫 绘画 艺术 研究
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