本文關(guān)鍵詞： 版畫 絕版木刻 沿襲 變革　出處：《云南藝術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：版畫最初的功能是傳播,在近代中國(guó)抗日戰(zhàn)爭(zhēng)時(shí)期,很多木刻版畫都有革命性,主要是由于時(shí)代的原因,并沒(méi)有對(duì)其藝術(shù)特點(diǎn)給予關(guān)注,而是高度重視社會(huì)功能屬性。云南的普洱(思茅)版畫團(tuán)體的在中國(guó)版畫界嶄露頭角,對(duì)于處在八十年代的中國(guó)版畫界是一次重大的事件。當(dāng)?shù)厮囆g(shù)家在不斷的藝術(shù)實(shí)踐中,將個(gè)人的心境經(jīng)歷與民族文化傳統(tǒng)以及西方現(xiàn)代藝術(shù)相融合,創(chuàng)造性的展現(xiàn),豐富了版畫的多樣性。因?yàn)槠斩慕^版套色木刻所取得的巨大成就,所以極大的推動(dòng)了云南版畫的發(fā)展,而且打破了自五、六十年代中國(guó)版畫所劃分的既定格局,云南成為繼黑龍江、四川、江蘇之后中國(guó)現(xiàn)代版畫的又一大群體。普洱版畫承載了藝術(shù)家們的情感,并且有多種創(chuàng)作主題風(fēng)格,有較強(qiáng)的自我表現(xiàn)意識(shí),使普洱版畫未來(lái)發(fā)展奠定基礎(chǔ)。普洱的絕版套色木刻相較于傳統(tǒng)的套色木刻,不但在藝術(shù)創(chuàng)作上得到簡(jiǎn)化,并打破了傳統(tǒng)的創(chuàng)作模式,藝術(shù)家得到解放。藝術(shù)家也有了更多精力,可以投入到藝術(shù)創(chuàng)作中去。通過(guò)關(guān)注普洱版畫中的代表性人物,通過(guò)他們的作品分析梳理普洱版畫的沿襲與變革,提出普洱版畫的創(chuàng)作理念、創(chuàng)作方式,繼而引發(fā)藝術(shù)創(chuàng)作的種種思考。
[Abstract]:The original function of printmaking is to spread, in the modern Chinese War of Resistance against Japan, many woodcut prints are revolutionary, mainly because of the reasons of the times, and did not pay attention to its artistic characteristics. The Pu'er (Simao) printmaking group of Yunnan Province has made its mark in Chinese printmaking circles. In 80s, the Chinese printmaking industry is a major event. Local artists in the continuous art practice, the personal state of mind experience and national cultural tradition and Western modern art fusion. Creative display enriched the variety of printmaking. Because of the great achievements of Pu'er 's out-of-print overlay woodcut, it greatly promoted the development of Yunnan printmaking, and broke from five. In 60s, Yunnan became another group of modern Chinese printmaking after Heilongjiang, Sichuan and Jiangsu. Pu'er print carried the emotion of artists. And there are a variety of creative theme styles, have a strong sense of self-expression, so that the future development of Pu'er printmaking laid a foundation. Pu'er 's out-of-print color woodcut compared with the traditional color woodcut, not only in artistic creation has been simplified. And broke the traditional creative model, the artist was liberated. The artist also has more energy, can be invested in artistic creation. By paying attention to the representative figures in Pu'er print. Through their work analysis and combing the Pu'er printmaking inheritance and reform, put forward the Pu'er printmaking ideas, creative ways, and then triggered a variety of artistic creation thinking.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J217
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本文編號(hào)：1466368