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<p>淺談?dòng)彤嫷谋就粱撐?/p><p><strong>淺談?dòng)彤嫷谋就粱撐?/strong></p><p style="text-align: center;"><img loading="lazy" src="https://p.9136.com/00/l/c2dbcec41_2.jpg" alt="淺談?dòng)彤嫷谋就粱撐?/></p><p>　　<strong>摘要：</strong>以“油畫本土化”為線索，通過(guò)對(duì)油畫發(fā)展歷程的回顧和對(duì)我國(guó)現(xiàn)實(shí)主義油畫民族化探索的分析，并立足現(xiàn)實(shí)，對(duì)我國(guó)油畫的發(fā)展現(xiàn)狀提出合理化建議。</p><p><strong>　　關(guān)鍵詞：</strong>油畫寫實(shí) 本土化</p><p>　　油畫這一畫種最早產(chǎn)生在歐洲，是歐洲所特有的地理?xiàng)l件和人文環(huán)境培育出的一門藝術(shù)畫種。由于歐洲特定的自然環(huán)境和氣候條件決定了他們繪畫的興奮點(diǎn)在于絢麗的油彩，就像中國(guó)特有的自然環(huán)境和人文氣息適合用水墨表達(dá)一樣。歐洲油畫藝術(shù)在世界是獨(dú)樹一幟的。與其他藝術(shù)種類一樣，油畫同樣包含技術(shù)和精神內(nèi)容兩個(gè)層面。油畫技術(shù)一般認(rèn)為包括對(duì)畫家自身色彩感受力的訓(xùn)練和掌握運(yùn)用色彩的方法上；而其作品所要表達(dá)的精神層面的內(nèi)容則要取決于畫家審美能力的高低。實(shí)踐證明，我國(guó)油畫家完全可以純熟地掌握和運(yùn)用油畫的材料來(lái)表達(dá)自身的情感，油畫不只屬于歐洲也可以屬于中國(guó)的藝術(shù)家。</p><p>　　油畫的本土化，可謂是近些年來(lái)爭(zhēng)論的一大話題。西畫這個(gè)外來(lái)畫種引入我國(guó)已有一百多年歷史，經(jīng)過(guò)幾代人不懈努力，創(chuàng)造出了中國(guó)油畫逐漸走向成熟的百年歷史，但也只能說(shuō)是在油畫本身的技法、對(duì)油畫畫種的認(rèn)識(shí)觀念上基本實(shí)現(xiàn)了本土化。這個(gè)問(wèn)題要從幾個(gè)方面來(lái)見證：</p><p>　　首先是我們對(duì)油畫觀念認(rèn)識(shí)的成熟，完成了從引進(jìn)拿來(lái)、消化吸收到變成我們情感認(rèn)可并自由運(yùn)用的普通畫種，我國(guó)有世界上最龐大的油畫隊(duì)伍，當(dāng)今提起西畫，基本沒有人會(huì)覺得大驚小怪呢？西畫和中國(guó)傳統(tǒng)水墨和睦相處相得益彰，同樣得到國(guó)人的認(rèn)可。在今天提起什么油畫展之類的問(wèn)題，也只是指畫種而已，并沒有中西概念之分。特別是在今天這個(gè)時(shí)代，我們發(fā)展并給予油畫含義和價(jià)值與時(shí)代相符的準(zhǔn)確定位。</p><p>　　其次，對(duì)油畫材料的經(jīng)驗(yàn)運(yùn)用也趨于成熟。我們?cè)僖膊粫?huì)孤立地談?dòng)彤嫴牧蠁?wèn)題了，我們情感關(guān)注的所有問(wèn)題，成為我們繪畫的主題。調(diào)色板上的顏料，對(duì)于每個(gè)中國(guó)油畫家來(lái)說(shuō)，運(yùn)用自如。材料制造跟國(guó)外相比雖然還有差距，但也完全做到了國(guó)產(chǎn)化。</p><p>　　再次，對(duì)油畫技法的認(rèn)識(shí)和理解上了一個(gè)新臺(tái)階。我們搞油畫的包括油畫教育者，多少年來(lái)一直認(rèn)為學(xué)習(xí)油畫，只是學(xué)習(xí)油畫技法，至于學(xué)了以后要干什么很少有人去談。對(duì)西方大師的技法學(xué)習(xí)不是處于一種拿來(lái)法，而是以跪拜的姿勢(shì)處于一種亞健康狀態(tài)的學(xué)習(xí)。完全忽視了時(shí)代的變遷，在一種相對(duì)靜止的泥潭里苦苦掙扎。在中國(guó)的藝術(shù)院校里，油畫教學(xué)就有基礎(chǔ)和創(chuàng)作嚴(yán)格的界限，就是一個(gè)很好的例子。近幾年情況雖有好轉(zhuǎn)，但沒有從根本上跳出這個(gè)致命誤區(qū)。近幾年，關(guān)于油畫民族化問(wèn)題的爭(zhēng)論已沒有什么實(shí)質(zhì)的意義。倒不如丟掉包袱，以平靜務(wù)實(shí)的心態(tài)，研究藝術(shù)本身的問(wèn)題，做好自己的事情。藝術(shù)有其自身規(guī)律，不能拔苗助長(zhǎng)急于求成。以清醒的頭腦包容的心態(tài)，看待當(dāng)下紛飛的藝術(shù)思潮。民族化是民族精神的自然外化，不是喊出來(lái)的，更不是爭(zhēng)出來(lái)的。我們要調(diào)整好對(duì)待油畫的態(tài)度，把它看成是一個(gè)有自己獨(dú)特材料特性的畫種，是我們表達(dá)心靈感受，抒懷說(shuō)話的工具。把它從我們心靈的神位上請(qǐng)下來(lái)，還它在這個(gè)時(shí)代應(yīng)有的位置。我們不用擔(dān)心會(huì)被完全西化，切實(shí)地靜下心來(lái)，以對(duì)祖國(guó)對(duì)民族文化負(fù)責(zé)任的態(tài)度，做好我們自己的事情。相信若干年后再來(lái)看中國(guó)的油畫藝術(shù)時(shí)，它將會(huì)是另一種局面。</p><p>　　而要使油畫真正能“本土化”“民族化”其中更決定于畫家本人個(gè)性、學(xué)養(yǎng)、訓(xùn)練、品格追求等主觀方面因素,更有客觀時(shí)代、環(huán)境、際遇等復(fù)雜因素的影響,很難定論何種式樣風(fēng)格屬于“本土”“民族”的成功標(biāo)準(zhǔn)。即便如董希文的《開國(guó)大典》,吳作人的《齊白石像》這樣大家公認(rèn)的成功之作,在畫家生前身后也注定只能是“孤本”而難以模仿。</p><p>　　當(dāng)年“民族化”命題的提出,反映了一種使命感,一種要為廣大受眾所理解、服務(wù)的精神,一種擔(dān)當(dāng)態(tài)度,可是當(dāng)下具此心態(tài)的畫家有多少?而要達(dá)到“民族化”更要求畫家具備民族文化的廣泛、深度的修養(yǎng)、理解和情感,但今天許多畫家的情況和吳作人、常書鴻、艾中信一輩的畫家們相較已大不相同。此外,“民族化”基本上是一個(gè)學(xué)術(shù)命題,需要以公認(rèn)的作品來(lái)回答的命題,因此就需要一個(gè)相對(duì)穩(wěn)定、寬裕、有利于學(xué)術(shù)探討的社會(huì)條件,學(xué)術(shù)環(huán)境,更需要畫家有一個(gè)遠(yuǎn)離浮躁、沉潛藝術(shù)、安于寂寞的心態(tài),方有可能創(chuàng)作出好作品。</p><p>　　中國(guó)藝術(shù)的文化價(jià)值不是一個(gè)大一統(tǒng)的國(guó)家概念，它是個(gè)體化的本土意識(shí)（包括潛意識(shí)等等）的顯現(xiàn)，是藝術(shù)家在其生存環(huán)境中與生俱來(lái)和在其生活經(jīng)歷中刻骨銘心的感覺與感受，是對(duì)本土的地域的生存環(huán)境和生活經(jīng)歷作出的反應(yīng)與反思，是具體個(gè)人而不是抽象集體的，是現(xiàn)在時(shí)態(tài)而不是過(guò)去時(shí)態(tài)的。傳統(tǒng)文化對(duì)于當(dāng)代藝術(shù)而言，并非天然就具有意義，它必須通過(guò)個(gè)人對(duì)現(xiàn)實(shí)世界的體會(huì)，才能成為藝術(shù)資源和精神力量。強(qiáng)調(diào)個(gè)體性也就是強(qiáng)調(diào)當(dāng)代藝術(shù)的民間屬性，中國(guó)藝術(shù)當(dāng)下最嚴(yán)重的問(wèn)題正是它面臨的官方化，對(duì)民間文化權(quán)利的過(guò)分剝奪，是中國(guó)社會(huì)由來(lái)已久的大問(wèn)題，中華文化復(fù)興的前提，必須恢復(fù)與重建中國(guó)民間發(fā)生文化、生長(zhǎng)文化的自由權(quán)利。</p><p>　　改革開放 30年來(lái)，在經(jīng)濟(jì)全球化趨勢(shì)進(jìn)一步加劇的國(guó)際大背景下，在中西方文化的交流、融合中，我們到底該迎合西方的現(xiàn)代思潮還是該走自己的路?這是個(gè)值得認(rèn)真思考的問(wèn)題。西方的藝術(shù)，特別是油畫已經(jīng)發(fā)展了很長(zhǎng)一段時(shí)間，已經(jīng)具備了很強(qiáng)的造型功力、完備的教學(xué)體系以及意識(shí)等因素。某種文化思潮的誕生也是在這些基礎(chǔ)之上順其自然而來(lái)的。我們必須清醒地認(rèn)識(shí)到這一事實(shí)，深刻認(rèn)識(shí)到自己所處的位置。交流和融合并不一定會(huì)給中國(guó)油畫帶來(lái)完善和成熟。我們還有很多課要補(bǔ)。眼下中國(guó)油畫要想走現(xiàn)代之路必須首先全面解決其民族本土化問(wèn)題，而堅(jiān)持以現(xiàn)實(shí)主義為主的創(chuàng)作道路才是中國(guó)油畫民族化的唯一出路。我們不能盲目屈從于潮流，要本著對(duì)中國(guó)油畫未來(lái)發(fā)展負(fù)責(zé)的態(tài)度看清形勢(shì)。所以，要想進(jìn)一步實(shí)現(xiàn)中國(guó)油畫的民族化，中國(guó)油畫家將有必要繼續(xù)堅(jiān)持現(xiàn)實(shí)主義的創(chuàng)作方式，在中國(guó)油畫的探索之路上狠下工夫。</p><p><strong>　　參考文獻(xiàn)：</strong></p><p>　　[1]中央美術(shù)學(xué)院美術(shù)史系外國(guó)美術(shù)史教研室．外國(guó)美術(shù)簡(jiǎn)史[M]．北京：高等教育出版社，2004．</p><p>　　[2]王宏建．藝術(shù)概論[M]．北京：文化藝術(shù)出版社，2000．</p><script>s("content_relate");</script><p>【淺談?dòng)彤嫷谋就粱撐摹肯嚓P(guān)文章：</p><p><a target="_blank" 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