發(fā)布時間：2018-05-21 19:34

  本文選題：亂針繡 + 刺繡　； 參考：《西南交通大學(xué)》2012年碩士論文

【摘要】：筆者力圖通過對亂針繡工藝的研究,結(jié)合當(dāng)代繪畫的繪畫語言,并使之結(jié)合,尋求出一條繪畫語言在亂針繡工藝中應(yīng)用的表達(dá)和再造的可行途徑。 纖維藝術(shù)作為西方現(xiàn)代藝術(shù)的一種表現(xiàn)形式,從其形成至今也不過短短的八十余年,她起源于西方,脫胎于古老而傳統(tǒng)的掛毯,伴隨著現(xiàn)代藝術(shù)的興起而逐漸興盛。纖維藝術(shù)是一種還在被不斷創(chuàng)新、發(fā)展、變化中的年輕的藝術(shù)形式,但在許多人的眼里,她的歷史又很古老。自從人類掌握了織物制造技術(shù)以來的眾多紡織織物的藝術(shù)形式,都可看做是她的傳統(tǒng),并且這種藝術(shù)形式,主要是以實(shí)用為目的,具有較強(qiáng)的可復(fù)制性。而現(xiàn)代的纖維藝術(shù)中的主題和審美觀念,更多的是一種創(chuàng)作者對其主觀意念的表達(dá),同時也是現(xiàn)代家居空間裝飾的重要組成部分,是協(xié)調(diào)家居空間與空間中所處的人的關(guān)系,強(qiáng)調(diào)觀念與情感的表現(xiàn),強(qiáng)調(diào)空間因素中的藝術(shù)效果和對人文因素的關(guān)注。 刺繡是中國最古老的技藝之一,也是“女紅”中的一員,“女紅”作為中國最早的纖維藝術(shù),在中國古代的經(jīng)濟(jì)水平下,男耕女織是其文化的源頭。而來源于刺繡,又突破了刺繡傳統(tǒng)范式的亂針繡,在功能、題材與形式方面上來講,都已不是傳統(tǒng)刺繡那種主要功能為實(shí)用,設(shè)計目的從屬于“用”,亂針繡更多的是用于家居空間裝飾的應(yīng)用中,以獨(dú)立作品的形式出現(xiàn),以其瑰麗多變的色彩、立體感強(qiáng)的畫面效果,和天然材質(zhì)制成的繡線在畫面上層層密布的肌理,在現(xiàn)代的家居空間中展示著獨(dú)特的魅力和風(fēng)采。 在纖維藝術(shù)理論指導(dǎo)的基礎(chǔ)上,筆者分四個部分：首先從亂針繡源流、藝術(shù)特征、創(chuàng)作理念、色彩風(fēng)格、針法技巧、工巧表現(xiàn)等相關(guān)屬性方面入手進(jìn)行研究和實(shí)踐,探討亂針繡工藝與傳統(tǒng)刺繡之間的淵源和聯(lián)系。其次,就纖維壁掛的歷史發(fā)展、發(fā)展里程作出討論,得出亂針繡工藝與當(dāng)代繪畫、亂針繡工藝與現(xiàn)代建筑空間、亂針繡工藝與家居空間的關(guān)系；再次,在現(xiàn)代工業(yè)文明對傳統(tǒng)手工藝的沖擊下,亂針繡的發(fā)展、生存現(xiàn)狀及傳承性；最后,在綜合前面研究幾個方面的基礎(chǔ)上,以亂針繡大師創(chuàng)作的經(jīng)典作品和筆者自己創(chuàng)作的作品,結(jié)合亂針繡工藝在家居空間中的應(yīng)用,進(jìn)一步提出作為纖維藝術(shù)品之一的亂針繡,不僅僅是其作品本身對創(chuàng)作者主觀意念的一種表達(dá)形式,也是繪畫語言在亂針繡工藝中的表達(dá)和再造。
[Abstract]:The author tries hard to find a feasible way of expression and reconstruction of the application of the painting language in the process of disorderly embroidery through the study of the disorderly stitch technique and the combination of the painting language of the contemporary painting and the combination of the painting language and the modern painting language. Fiber art, as a form of expression of western modern art, is only 80 years old from its formation. It originated from the West, was born out of the old and traditional tapestries, and gradually flourished with the rise of modern art. Fiber art is a young art form which is still innovating, developing and changing, but in the eyes of many people, its history is very old. The art form of textile fabric has been regarded as her tradition since the human being mastered the technology of fabric manufacture, and this kind of art form, which is mainly for the purpose of practicality, has strong reproducibility. The theme and aesthetic concept of modern fiber art, more than a creative expression of its subjective ideas, but also an important part of modern home space decoration, is to coordinate the relationship between the home space and the people in the space. It emphasizes the expression of idea and emotion, the artistic effect of space factor and the concern of humanistic factor. Embroidery is one of the oldest techniques in China and a member of "female Red". As the earliest fiber art in China, "Women's Weaving" is the source of its culture under the economic level of ancient China. In terms of function, subject matter and form, the main function of traditional embroidery is not practical, and the purpose of design is subordinate to "use". Random stitch embroidery is more used in the application of home space decoration, appearing in the form of independent works, with its magnificent and changeable color, strong three-dimensional picture effect, and the texture of the embroidered thread made of natural materials on the screen layer by layer. In the modern home space is showing unique charm and style. On the basis of the theoretical guidance of fiber art, the author divides into four parts: firstly, the author begins with the research and practice of the related attributes, such as the source of embroidery, artistic features, creative ideas, color style, needling techniques, artistry, and so on. This paper discusses the origin and relation between disorderly embroidery and traditional embroidery. Secondly, the paper discusses the historical development and mileage of fiber wall hanging, and concludes the relationship between disorderly stitch craft and contemporary painting, random stitch embroidery technology and modern architectural space, random stitch embroidery craft and home space. Under the impact of modern industrial civilization on traditional handicrafts, the development, survival status and inheritance of disorderly stitch embroidery; finally, on the basis of synthesizing several aspects of the previous studies, the classical works created by the master of disorderly embroidery and the works created by the author themselves are used. Combined with the application of disorderly embroidery technology in the home space, it is further put forward that as one of the fiber works of art, random stitch embroidery is not only a form of expression of the creator's subjective ideas in his works. It is also the expression and reconstruction of painting language in embroidery process.
【學(xué)位授予單位】：西南交通大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J523.6

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 張濵;;以針為筆,以絲為丹青——試論常州亂針繡[J];美與時代(上旬);2013年08期

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本文編號：1920470