摘 要 本文主要以作者在研究生期间的创作研究为切入点，将本人在研究生期间所 做的创作探索进行归纳和总结。试图将风景通过“静物式”的呈现方式来表达出 来，将体现风景意味的元素进行主观组合并浓缩在格局较小的静物上。希望能够 更好的表达个人的思想和情绪，从而创造出有意味形式的作品。作者不采用传统 的手法来呈现现实的风景，而是抛弃传统再现风景写生的方式，进行主观组合出 自然中并不存在的风景，以静物的样式表现出来，使人能够统观全局和一目了然。 通过分析能体现出风景的“静物式”表达的艺术家作品，作者总结出他们的创作 实践与本人所做的尝试之间的差异性。目前有许多青年艺术家的画面都能够较好 的体现出来风景的“静物式”表达的创作观念。本人将结合自己在研究生期间的 创作以及现当代艺术家他们的作品来进行分析探讨。 本文分为三部分来论述。第一部分是阐述风景的“静物式”表达的创作观念 是什么？以及本人为什么要主观创造出不存在的风景？并比较“静物式”表达风 景与传统的风景表达有什么异同？第二部分是结合艺术家的个案分析获取创作 启示，总结以风景的“静物式”表达的创作观念的艺术家，他们做了哪些的探索 和尝试。第三部分是分析梳理自己在研究生期间的创作探索的过程，逐渐形成以 风景的“静物式”表达的创作观念，以及毕业创作《生机—隔离屋》系列作品的 形成过程。 采用的研究方法分别有文献研究法、个案分析法、创作实践法。文献研究法 是会借助关于总结艺术发展历史的书籍，了解到西方传统的风景画和静物画的大 致脉络。个案分析法是通过分析研究相关艺术家的作品以及创作理念，对比出他 们的实践成果与我自己所做的探索实践有那些不同。创作实践法是介绍自己在研 究生期间所做的创作实践，包括毕业创作中制作铜版画的步骤，以及后期不断调 整画面局部以达到最满意效果的过程。

ABSTRACT This article mainly takes the author's creative research during the postgraduate period as the starting point, and summarizes and summarizes the creative exploration that I did during the postgraduate period. It tries to express the landscape through a "still life" presentation, subjectively combining the elements that reflect the meaning of the landscape and condensing them into a smaller still life. I hope to better express personal thoughts and emotions, so as to create works with meaningful forms. The author does not use traditional methods to present realistic landscapes, but abandons the traditional way of reproducing landscapes and sketches, and subjectively combines landscapes that do not exist in nature, expressing them in the style of still life, so that people can see the overall situation and understand at a glance. By analysing the artist's works that embody the "still-life" expression of the landscape, the author summarizes the differences between their creative practice and his own. At present, the pictures of many young artists can better reflect the creative concept of "still life" expression of landscape. I will analyze and discuss my own creations during my postgraduate period and the works of modern and contemporary artists. This article is divided into three parts to discuss. The first part is to explain what is the creative concept of the "still-life" expression of the landscape? And why do I subjectively create a landscape that does not exist? And what are the similarities and differences between the "still-life" expression of landscape and traditional landscape expression? The second part is based on the case analysis of artists to obtain creative inspiration, and summarizes the explorations and attempts of artists who express their creative concepts in the "still life style" of landscapes. The third part is to analyze and sort out the process of his creative exploration during his postgraduate period, gradually forming the creative concept expressed in the "still life style" of landscape, and the forming process of the series of works "Vitality - Isolation House". 3 The research methods adopted are literature research method, case analysis method and creative practice method. The literature research method is to learn the general context of western traditional landscape painting and still life painting with the help of books on summarizing the history of art development. The case analysis method is to analyze and study the works and creative ideas of relevant artists, and compare their practical results with my own exploration practice. The creative practice method is to introduce the creative practice done during the postgraduate period, including the steps of making copper engravings in the graduation creation, and the process of continuously adjusting parts of the picture to achieve the most satisfactory effect in the later stage.