本文選題：“美學(xué)法則”和“地域性”兩個(gè)概念　切入點(diǎn)：　出處：《湖北美術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：中西方雕塑經(jīng)過了幾千年的發(fā)展形成了各自不同的造型法則和美學(xué)標(biāo)準(zhǔn),并在各自的文化傳統(tǒng)主導(dǎo)下繼承、發(fā)展和演變。西方雕塑傳達(dá)的是一種標(biāo)準(zhǔn)的、具象的、張揚(yáng)的造型特質(zhì),造型多是以解剖、比例、透視等科學(xué)為造型標(biāo)準(zhǔn)。貫穿于東方雕塑的是意象的、概括的、超越本體的文化內(nèi)涵,整體滲透著一種含蓄的美。自16世紀(jì)西方的藝術(shù)教育思想在國內(nèi)各大院校蔓延,比例、結(jié)構(gòu)、透視等造型法則成為教學(xué)的主要課程。西方美學(xué)準(zhǔn)則和造型方法幾乎取代了中國幾千年的美學(xué)法則,我們年輕的一代在這樣尷尬的環(huán)境下該如何繼續(xù)自己的創(chuàng)作。著眼于中西方雕塑美學(xué)融合的背景下,我創(chuàng)作了作品《天邊那朵云》,希望通過作品闡述我的觀點(diǎn)。我認(rèn)為:第一,二十一世紀(jì)應(yīng)該改變思維模式,更新觀念意識(shí);我們要用新的思維模式觀察客觀事物,實(shí)現(xiàn)跨越性的立體思維模式;第二,意象要與具象相融合。在創(chuàng)作中,我并沒有完全按照西方標(biāo)準(zhǔn)的造型法則加以套用,也沒有照搬中國意象美學(xué),而是將兩者融合在一起;第三,本土與外來文化相融合,保證雕塑創(chuàng)作的個(gè)性化。藝術(shù)的綜合并不是簡單概念上的融合,要對(duì)西方文化采取寬容的態(tài)度進(jìn)行消化吸收,對(duì)本民族文化進(jìn)行重新認(rèn)識(shí)和評(píng)定,最終呼吁雕塑創(chuàng)作回歸“東方美學(xué)”。
[Abstract]:After thousands of years of development, Chinese and Western sculptures have formed their own different modeling principles and aesthetic standards, and they have inherited, developed and evolved under the guidance of their respective cultural traditions. Western sculptures convey a standard and concrete form. Most of the styling characteristics of publicity are based on the science of anatomy, proportion, perspective and so on. What runs through the Oriental sculpture is the image, the generalization, and the cultural connotation that transcends the Noumenon. The whole permeates with a kind of implicit beauty. Since 16th century, the western art education thought has spread, proportion and structure in all the major colleges and universities in China. The principles of modeling, such as perspective, have become the main courses in teaching. Western aesthetic norms and modeling methods have almost replaced the aesthetic principles of China for thousands of years. How should our young generation continue their work in such an awkward environment? in the context of the aesthetic fusion of sculpture between China and the West, I created my work "the Cloud in the Sky" in the hope of expounding my point of view through the work. I think: first, In 21th century, we should change the mode of thinking and renew our conceptual consciousness; we should use the new mode of thinking to observe the objective things and realize the three-dimensional thinking mode of leapfrogging; second, the image should be combined with the concrete. I did not apply it entirely according to the Western standard modeling rules, nor did I copy Chinese image aesthetics, but I merged the two together; third, local and foreign cultures converged. To ensure the individuation of sculpture creation, the synthesis of art is not the integration of simple concepts. We should take a tolerant attitude towards western culture, digest and absorb it, and re-understand and evaluate our national culture. Finally, it calls for sculpture creation to return to Oriental Aesthetics.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J301

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