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PaperPal论文伙伴Art Essay代写案例

文章类型:essay 发布时间:2020-07-17

在19世纪下半叶,面对欧洲和日本帝国主义的严峻威胁,中国进行了国家现代化建设,而艺术现代化是国家现代化建设的重要组成部分。 1912年中华民国成立后,随着许多学生出国留学,欧洲的艺术观念和实践迅速被引入和研究。
到1930年代,中国艺术的观念和实践发生了巨大变化。 20世纪初期,成百上千的中国学生学习艺术,而法国是中国艺术学生的主要目的地。 幸运的是,中国艺术家并不准备放弃中国画的传统,而是通过引入西方技术来改善它。
In the second half of the 19th century, faced with the serious threat of European and Japanese imperialism, China carried out the national modernization drive, and the artistic modernization is an important part of the national modernization drive. After the republic of China was founded in 1912, European art concepts and practices were quickly introduced and studied as many students went abroad to study.
By the 1930s, great changes had taken place in the concept and practice of Chinese art. Hundreds of Chinese students studied art in the early decades of the 20th century, and France was a major destination for Chinese art students. Fortunately, Chinese artists were not ready to abandon the traditions of Chinese painting, but to improve it by introducing western techniques.

正如整个中国现代文化具有过渡,矛盾和发展的特征一样,中国现代艺术也充满了新旧特征,东西方交融,变化发展的特征。
当然,模仿和学习西方绘画的过程并不顺利。即使大多数人都同意将中国艺术与西方艺术结合起来,但这里却存在完全不同的观点。由于西方风格的复杂性和多样性,中国艺术家对于介绍哪种风格感到困惑。
徐悲鸿和刘海粟都曾在法国学习。两位大师后来成为中国艺术家的重要代表,他们将西方油画技术与写意的国画相结合,并在一个时代影响了国画的创作。毫无疑问,那里的艺术创新为中国与西方之间的对话做出了贡献。然而,两位大师分别在现实主义和现代主义的支持下,对西方艺术的引入形成了截然不同的理解,从而主导了一场激烈的艺术辩论,展现了美术的多元发展格局。
Just as the whole Chinese modern culture had the characteristics of transition, contradiction and development, the Chinese modern art was also full of the characteristics of the new and old, the mixture of the east and the west, the change and development.
Of course, the process of imitating and learning western painting was not smooth. Even though the majority of people all agreed to combine Chinese art with western art, there were totally different views here. Due to the complexity and diversity of western styles, Chinese artists were confused about which genres to introduce.
Xu Beihong and Liu Haisu all once studied in France. The two masters later became important representatives of Chinese artists who combined western oil painting techniques with the freehand brushwork of Chinese painting, and influenced the creation of Chinese painting in an era. There artistic innovations were undoubtedly a contribution to the dialogue between China and the west. However, the two masters, with their support of realism and modernism respectively, developed very different understandings of the introduction of western art and thus dominated a fierce art debate, showing the pluralistic development pattern of the fine arts. 

在1920年代和1930年代,大批美术专业的学生回到中国,带来了从印象派到超现实主义的一系列西方现代主义艺术潮流的经验,并发起了小型的现代艺术运动。刘海粟是该运动的代表画家。在他们的影响下,代表现代主义的艺术风格开始在中国出现。他试图将中国现代艺术的发展想象为改变文人艺术态度,将其带回世界并将文人艺术的传统主观语言从古典语言转变为现代语言的过程。但是实际上,中国现代艺术并没有像艺术家所希望的那样发展。
刘海粟的画是后印象派,野兽派和中国写意风格的结合。在他眼中,艺术的本质是对生活的life悔。只有无法复制和模仿的独特形式,没有束缚和束缚的自由表达,才能被称为生命的纯洁辩护。
像刘这样的改良主义艺术家的立场使他直接与像徐这样的更具革命性的艺术家对抗,后者主张西方现实主义作为“闲散”文人美学的替代。后者坚定地支持写实主义,并指导写实绘画在中国的传播。他以一种新颖的方式将写实技术引入中国人物画,目的是重现中国画的人,山,河,动物,花鸟等熟悉的内容。
接下来,我将具体分析刘海粟和徐悲鸿的作品,以展示他们对西方艺术和中国艺术的不同理解,并尝试展示他们的艺术观点和作品特色。
In the 1920s and 1930s, a large number of art students returned to China, bringing with them the experiences of a series of western modernist art trends, from impressionism to surrealism, and starting a small-scale modern art movement. Liu Haisu was the representative artist of this movement. Under their influence, artistic styles representing modernism began to appear in China. He tried to imagine the development of Chinese modern art as a process of changing the attitude of literati art, bringing it back to the world, and transforming the traditional subjective language of literati art from classical language to modern language. But in fact, modern Chinese art did not developed as the artists hoped.
Liu Haisu’s paintings were a combination of post-impressionist, brutalism and Chinese freehand style. The essence of art in his eyes was the confession of life. Only the unique form that cannot be copied and imitated, the free expression that was not bound and fetter, can be called the pure vindicate of life.
The stance of reformist artists such as Liu put him in direct confrontation with more revolutionary artists such as Xu, who advocated western realism as an alternative to the “idle” literati aesthetic. The latter was a firm advocate of realism and guided the spread of realist painting in China. In a novel way, he introduced the realistic technique into Chinese figure painting, the purpose of which was to reproduce the familiar content of Chinese painting like people, mountains, rivers, animals, flowers and birds.
Next, I will specifically analyze a work by Liu Haisu and Xu Beihong respectively to show their different understanding of western art and Chinese art, and try to present their artistic views and characteristics of their works. 

这部作品《三匹骏马》是一幅典型的中国水墨画。徐悲鸿提倡欧洲的“现实主义”并坚持素描,因此他的马栩栩如生。画中的马有不同的表情,画中小学和中学的关系也很清楚。
当时,中国水墨画已处于缺乏动力和活力的状态。徐悲鸿希望通过结合中西风格,为中国画的创作指明道路。作为中国水墨大师,徐悲鸿的作品充满了中国传统风格。为了创造一种新的民族艺术形式,他将中国的笔墨技术与西方的视角和构图方法相结合,将大胆的笔触与精确的轮廓相结合。我们可以看到,图中的马匹形状准确而生动,反映了马匹的形状和绘画中的中国传统绘画技术。
这幅画中的骏马从远处疾驰,充满了活力和鼓舞人心的力量。这就是徐悲鸿试图通过图片传达的道德。当时,中国正处于抗日战争之中,徐志刚创作了鼓舞人心的作品,为战争做出了贡献。
This work Three Galloping Horses was a typical modified Chinese ink painting. Xu Beihong advocated European “realism” and insisted on sketching, so his horses were lifelike. The horses in the painting had different expressions, and the relationship of primary and secondary levels in the picture was also very clear.
At that time, Chinese ink painting reached a state of lack of motivation and vitality. Xu Beihong hoped to show the way for Chinese painting creation by combining Chinese and western styles. As a master of Chinese ink and oil, Xu Beihong’s works were full of traditional Chinese style. To create a new national art form, he combined Chinese brush and ink techniques with western methods of perspective and composition, combining bold strokes with precise outlines. We can see that the shapes of the horses in the picture were accurate and vivid, reflecting the western painting techniques in the shape, and the Chinese traditional painting techniques in the brushwork.
The galloping horse in this painting galloped from a distance, full of energy and inspiring power. This was the moral that Xu Beihong tried to convey through the picture. At that time, China was in the midst of the Anti-Japanese War, and Xu tended to create inspiring works to contribute to the war. 

东风吹开朵朵红色的油画作品,是刘海粟油画艺术创作繁荣时期的代表。这幅画是刘海粟病重后康复创作的第一幅油画,它的生命力很强,与当时的刘海粟个人感觉非常吻合。这幅画的色彩温暖而狂野,使人们想起了刘海粟的偶像凡高的画作。

它具有印象油画的特点,也呈现了中国油画的风格。刘海粟认为,印象油画的目的是表达而不是复制,这与中国传统文人画注重写意的观念相吻合。图片不受自然光颜色的限制,而是聚焦在主观彩色图像上。

这部作品不仅具有静物写生的性质,而且具有中国花鸟绘画构图的特点,强调了笔法和密度的骨骼方法。

The East Wind Blows Open Blossoming Red oil painting work was the representative of Liu Haisu’s oil painting artistic creation flourishing period. This work was the first oil painting created by Liu Haisu when he recovered from his serious illness, which showed a strong vitality and was very consistent with Liu Haisu's personal feelings at that time. The color of the painting was warm and wild, which reminded people of the paintings of Liu Haisus idol Van Gogh.

It had the impression painting characteristic, also presented the Chinese oil painting style. According to Liu Haisu, the purpose of impression painting was to express, rather than to reproduce, which coincided with the concept that Chinese traditional literati painting paid attention to freehand brushwork. The picture was not limited by the color of natural light, but focused on the subjective color image.

This work not only had the nature of still life writing, but also had the characteristics of Chinese flower-and-bird painting composition, emphasizing the bone method with brush and density. 

 
东风吹开朵朵红色的油画作品,是刘海粟油画艺术创作繁荣时期的代表。这幅画是刘海粟病重后康复创作的第一幅油画,它的生命力很强,与当时的刘海粟个人感觉非常吻合。这幅画的色彩温暖而狂野,使人们想起了刘海粟的偶像凡高的画作。
它具有印象油画的特点,也呈现了中国油画的风格。刘海粟认为,印象油画的目的是表达而不是复制,这与中国传统文人画注重写意的观念相吻合。图片不受自然光颜色的限制,而是聚焦在主观彩色图像上。
这部作品不仅具有静物写生的性质,而且具有中国花鸟绘画构图的特点,强调了笔法和密度的骨骼方法。
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