本文關(guān)鍵詞： 雕塑空間 可視空間 可感空間 可知空間　出處：《清華大學(xué)》2004年碩士論文　論文類型：學(xué)位論文

【摘要】：雕塑,事實(shí)上是以空間來(lái)體現(xiàn)和實(shí)現(xiàn)造型以及造型所涵蓋的意義,其在成形階段取決于塑造者對(duì)空間的認(rèn)識(shí),在被解讀的階段取決于觀者對(duì)空間的認(rèn)識(shí)。因此本文擬以對(duì)“空間”的分析,試圖比較中西方雕塑的異同。這里須說(shuō)明:異與同雖可以分別指出,但決非簡(jiǎn)單的兩分而對(duì)立——-需知“異”中往往暗含有“同”,而“同”總也統(tǒng)括不盡“異”。 比較“異”的意義:中西方雕塑有區(qū)別,采用的形式方法多樣化,才體現(xiàn)出不同文化存在的意義,才體現(xiàn)出個(gè)性的價(jià)值。西方在求真的傳統(tǒng)下推進(jìn)理性的研究,中國(guó)在道、易、氣中進(jìn)行人文的思考……這是“異”的貢獻(xiàn);藝術(shù)史要發(fā)展就得有變化,因?yàn)闆](méi)有分別就不會(huì)有歷史, 沒(méi)有變化就沒(méi)有進(jìn)步的可能,所以美術(shù)史以記載“不同流派”和“風(fēng)格變化”為己任�？墒沁�需認(rèn)識(shí)到:不是只要有變化就是進(jìn)步,但是有進(jìn)步就一定起了變化。在某些古代思想中,某些古老的方法里,可能已蘊(yùn)含著不可逾越的高級(jí)的智慧。古代中國(guó)和古代希臘就有著相通的地方。比較“同”的意義正在于此。自然界是有規(guī)律存在的,只有發(fā)現(xiàn)了規(guī)律,才能更好的認(rèn)識(shí)對(duì)象。 以前的雕塑家的一些作品,作為方法的結(jié)果和思維的結(jié)果留存下來(lái),可供我們作為研究時(shí)的參照物。所幸我是學(xué)習(xí)雕塑出身,習(xí)慣于聽(tīng)形體說(shuō)話。過(guò)去和未來(lái)雖然對(duì)我們隱蔽著,但卻是可以探尋和追問(wèn)的,總有些規(guī)律在現(xiàn)象背后偷偷起著作用,這些有規(guī)律的地方是值得我們花時(shí)間去付出努力。
[Abstract]:Sculpture, in fact, embodies and realizes the shape and the meaning of the shape by space, and in the shaping stage depends on the understanding of the space by the shaper. The stage of interpretation depends on the viewer's understanding of space. Therefore, this paper attempts to compare the similarities and differences of Chinese and Western sculptures with the analysis of "space". But it is not a simple dichotomy-- need to know that "different" often implies "same", and "same" always contain "different". Comparing the significance of "different": there are differences between Chinese and Western sculptures, and the diversity of the formal methods used to embody the significance of the existence of different cultures and the value of individuality. In the tradition of seeking truth, the West promotes rational research, China in the Tao, Yi Yi, This is the contribution of "different"; if art history is to develop, there must be changes, because without distinction there would be no history, and without change there would be no possibility of progress. So art history is about recording "different genres" and "changes in style." but it is also necessary to realize that there is no change or progress, but progress must change. In some ancient ideas, in some ancient methods, Ancient China and ancient Greece have something in common. The meaning of comparing "the same" lies in this. There are laws in nature, only when we discover the law, we can better understand the object. Some of the works of previous sculptors, as a result of methods and thoughts, remain as a reference for our research. The past and the future are hidden from us, but they can be explored and questioned. There are some laws that secretly work behind the phenomena. These regular places are worthy of our time and effort.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：J305

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 馬雪飛;門(mén)戶地標(biāo)的空間環(huán)境設(shè)計(jì)研究[D];西安建筑科技大學(xué);2010年

2 黃先達(dá);淺析漢代雕塑美學(xué)精神在當(dāng)代雕塑中的應(yīng)用[D];鄭州大學(xué);2013年

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本文編號(hào)：1519627