浅析油画中的藏族服饰--以艾轩、陈丹青、于小冬画作为例  

On Tibetan Costumes in Oil Painting:Take the Paintings of AI Xuan,ChenDanqing and Yu Xiaodong as Examples

作　　者：缪一博 杨标林 罗根龙 MIAO Yibo;YANG Biaolin;LUO Genlong(North China University of Technology,Tangshan 064200,China)

机构地区：[1]华北理工大学艺术学院,河北唐山064200 [2]华北理工大学,河北唐山064200

出　　处：《西部皮革》2022年第10期146-148,共3页West Leather

摘　　要：西藏地区服饰有着独特的形式美,该地区的服饰发展具有强烈的民族性以及文化背景,因其特殊地理环境以及生活方式进而形成其特殊的服饰。总结西藏地区服饰特点、色彩构成、衣服结构并发掘其特色,结合当代优秀油画家艾轩、陈丹青、于小冬三人的作品进行分析,总结出西藏地区服饰色彩结构对油画民族化发展的影响及重要意义,对关于油画在民族形象元素的表现中具有重要的研学价值,同时也为油画本土化发展提供学习和参考。The clothing in Tibet has a unique form of beauty.The development of clothing in this region has a strong nationality and cultural background,and its special clothing is formed because of its special geographical environment and way of life.Summarize the characteristics of clothing,color composition,and clothing structure in Tibet and explore their characteristics.Combined with the works of outstanding contemporary oil painters Ai Xuan,Chen Danqing and Yu Xiaodong,it is concluded that the color structure of clothing in Tibet has an effect on the development of oil painting nationalization.The influence and significance have important research value for oil painting in the expression of national image elements,and also provide learning and reference for the localization of oil painting.

关 键 词：西藏服饰 地域特点 油画语言 油画创作 

分 类 号：J223[艺术—美术]