松井冬子是东京艺术大学日本画系的第一位女博士和新日本画的代表之一。在为数不多的日本当代女画家中，她的作品散发着强烈的情感感召力，极具个人特色。早期学习油画的松井冬子掌握了西方油画的写实造型技艺，同时融汇了东方画派的某些风格，其创作打破了现代油画与传统日本画的壁垒，为日本新风格绘画的振兴注入了新鲜血液，受到日本绘画界的赞誉。其作品以古典卷轴画为展现形式，尺寸不等，画面多以鬼魂、花卉、女性、器官等为主体，画面氛围常常令人不寒而栗，创造了一个充斥着极端且令人恐惧的亡灵世界。 “我对使人惧怕的灵异本身并不感兴趣，感兴趣的是能利用可以被观者明确理解的表现方式来展现每个人生活中都会有的恐惧与愤怒的极端情绪。”观者对艺术作品的感受是多元、多维度的，既包含艺术作品本身所具有的视觉冲击这样的外部因素，也包含着观者在面对该作品时，潜意识中所触发的真情实感这样的内部因素。松井在纪录片里曾经这样说道：“以某种方式，我正在做观者无法做的事情。这就像人们偶尔会想要跳下火车，在我的创作中，我实际上正在跳下火车，我正在代替你跳下去。”松井冬子试图将这种反差强烈却不露声色的“种子”埋在其巨大而凝重的日本传统画的绘画语言中，这种语境具有东方美学的空灵与“不可说”的禅意。如此直观的画面感受，带着冥魂般的诡异，宁静却富有张力。 松井冬子的作品多运用狰狞的主体物，发掘出题材的禁忌感，令人望而生畏的同时，还感受到来自心底的切实的疼痛感。她把曾经遭受或目睹过的暴力，通过画笔或直白或间接地移情到创作中。这种具强大内能，而且传递出诡异美感的作品，被评论家定义为“自伤系创作”。而自伤系作品，则是她向外界暴露自我世界的窗户，是她倾诉的出口，也是她孤独生命的自我解救。 本文共分为三个章节。第一章节主要介绍松井冬子个人绘画风格的客观成因，简要探讨松井冬子初期绘画作品的理念及理念的由来。第二章与第三章通过研究松井冬子“自伤性”绘画作品背后的意象表达方式，从主体物象刻画与画面形式安排等角度，分析松井冬子作品中的宗教性，探索其背后的艺术宗旨。此外，本文将借鉴其他具有“自伤系”特点的画作进行比较研究，进一步探讨松井冬子“自伤系”绘画作品的表达内涵，得出可以通过学习其画面氛围、色彩与造型来提高笔者创作表达深度的结论。

Among the few contemporary Japanese painters, Matsui Fuyuko, the first female doctor of the Japanese Painting Department at Tokyo University of the Arts and one of the representatives of the New Japanese Painting, is undoubtedly one of them with personal characteristics and strong emotional appeal. Matsui's styling ability in early studies of oil painting is solid and vivid. In mastering the realistic modeling of western oil painting, he has similarities with the Oriental School, breaking the barriers of modern oil painting and traditional Japanese painting. Japan is pleased with the emergence of this young female artist welcomed by the painting art world. Matsui's appearance has brought fresh blood to the revitalization of Japanese new style painting. His works use classical scroll paintings as the display form and vary in size. The main body of the painting is mainly ghosts, flowers, women, and organs. The atmosphere created in the paintings is often chilling, creating an extreme and fearful Undead world. "I'm not interested in the scary spirit itself. I'm interested in being able to show the extreme emotions of fear and anger in everyone's life by using expressions that can be clearly understood by viewers." Feelings are diverse and multi-dimensional, and include not only external factors such as the visual impact of the artwork itself, but also internal factors such as the real emotions triggered by the subconsciousness of the work at the same time. Matsui once said in the documentary: "In a way, I'm doing what viewers can't do. It's like people occasionally want to jump off the train. In my creation, I'm actually jumping off the train. I'm jumping on your behalf. "Matsui Toko tried to bury this kind of contrasting but unobtrusive" seed "in the painting language of his huge and solemn traditional Japanese painting. This context has the emptiness and oriental aesthetics of" Do n’t say "Zen. Such an intuitive picture experience, with a ghostly weirdness, is quiet but full of tension. Matsui's creations make use of the horrible taboos of the subject and the subject matter, which is daunting and feels a real sense of pain from the bottom of her heart. As a woman who may have experienced violence or witnessed violence, she uses the paintbrush Empathy, straightforward or indirect, to the silk paper she writes. This kind of creative work that has an intriguing internal ability and at the same time conveys strange beauty is defined by external critics as "self-injury creation", and the self-injury work is a window that is opened to the outside of her world and she talks The exit is also the self-rescue in her lonely life. This article is divided into three chapters. The first chapter mainly introduces the objective causes of Matsui's personal painting style, and briefly discusses the ideas of Matsui's early painting works and the origin of his painting ideas. Chapters 2 and 3 study the image expressions behind Matsui's "self-harm" paintings, explore from the perspective of the subject's imagery, and the arrangement of the picture form, and analyze the religion in Matsui's works simultaneously to explore its The artistic purpose behind it. I compared it with other paintings with the characteristics of "self-injury", and then understood the expression and connotation of Matsui's "self-injury" paintings, and concluded whether I can improve my creative work by studying its atmosphere, color and shape. Expression depth.