本文選題：雕塑語言　切入點(diǎn)：形式感　出處：《東北師范大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

【摘要】： 伴隨著科技的高速發(fā)展,在人們生活水平日益提高的同時(shí),大量形形色色的雕塑充斥著我們的眼球,影響著我們的生活。然而在形式多樣,風(fēng)格各異的雕塑中,我們更應(yīng)該清晰地認(rèn)識什么樣式水平高的雕塑。 現(xiàn)代感的雕塑選用材料亮麗新穎,材料容易找到,典型代表時(shí)代的語言。未來題材的選擇偏重于簡潔透明,反光等材料。這樣未來感強(qiáng),把讀者引領(lǐng)到一個(gè)時(shí)空空間,激發(fā)讀者想象。除了材料的選擇,審美標(biāo)準(zhǔn)一定要有提升,不僅提升讀者審美標(biāo)準(zhǔn),而且對作者來講提出了更高的要求。怎樣滿足讀者的求知欲望,這需要我們在實(shí)踐中多積累經(jīng)驗(yàn),展開想象。 材料雕塑時(shí)以純粹的形式,形態(tài),材料為藝術(shù)語言,他不想電影,電視,戲劇那樣給觀眾充分的時(shí)間展示空間環(huán)境的真實(shí)完整的細(xì)節(jié)或情景,用表演表現(xiàn)的手法制造時(shí)間,空間,環(huán)境氣氛把作者思想傳達(dá)給觀眾,我們材料雕塑像做到這一點(diǎn)太難了,我們不肯恩吧要表達(dá)的一切搬到雕塑中來,去模仿生活,我們只能通過一些帶有隱寓或者比喻的手法讓觀眾想象空間,可能我們眼睛沒看到,不過通過眼睛能讓觀眾聯(lián)想空間的存在,這種隱寓行時(shí)通過觀眾的純精神活動作用產(chǎn)生的,他對作品的要求就是移除所有斑駁,浮華的裝飾,提煉概括的手法,簡單流暢的造型,深有靜邃的空間感,不拘泥于細(xì)節(jié)的瑣碎,主動關(guān)注大形體與形式語言,從而達(dá)到不破壞雕塑主題方向的導(dǎo)向作用,內(nèi)容深藏于觀眾聯(lián)系和探索的問題核心和能給觀眾帶來的求知欲望,能讓觀眾伴隨雕塑的情緒跌宕起伏,結(jié)合實(shí)際感受,觀眾會對雕塑有個(gè)結(jié)論性的評價(jià)。 物之因素中我們主要理解材料是有生命的,材料是創(chuàng)作的載體,同時(shí)也是藝術(shù)家創(chuàng)作靈感的來源,尊重材料就是尊重自己,相信材料的生命性,這樣我們才能與材料對話,達(dá)成共識,如何做到以上呢,我們首先要做的就是對材料進(jìn)行全方位的分析整理,以便于我們隊(duì)材料有更深入的了解和認(rèn)知,在此我們不能對每個(gè)材料依依進(jìn)行剖析,只能根據(jù)材料共有的屬性進(jìn)行綜合解釋,以及在具體實(shí)施創(chuàng)作過程中材料屬性說起到的作用進(jìn)行講解,針對世界上的物質(zhì),我們都知道他們都有一個(gè)具體的外部形態(tài),內(nèi)不精神意識和經(jīng)過實(shí)踐推移它們都會有變化,所以所有的材料分類為四大屬性,這便是,材料的物理屬性、化學(xué)屬性、生理屬性,功能屬性。
[Abstract]:With the rapid development of science and technology, people's living standards are improving day by day, at the same time, a large number of sculptures of all kinds are filled with our eyeballs and affect our lives. However, in the various forms and styles of sculpture, We should know more clearly what kind of high-level sculpture. Modern sculptures choose materials that are bright and novel, which are easy to find, and which represent the language of the times. The choice of future themes is focused on materials such as simplicity, transparency, reflection, etc. So the sense of the future is strong, leading the reader to a space-time space. In addition to the choice of materials, the aesthetic standard must be upgraded, not only to enhance the reader's aesthetic standard, but also to raise higher requirements for the author. How to satisfy the reader's desire for knowledge, This needs us to accumulate more experience in practice, unfold imagination. When sculpting materials in pure form, form and material as artistic language, he does not want to give the audience enough time to display the real and complete details or scenes of the space environment like movies, television and drama, and to create time by performing performance. The space and the atmosphere convey the author's ideas to the audience. It's too hard for us to do this in our material sculptures. We don't want Ken to express everything into the sculpture to imitate life. We can only let the audience imagine space through some implicit or metaphorical means, maybe we don't see it with our eyes, but through our eyes, we can make the audience associate the existence of space, which is generated by the pure spiritual activity of the audience. His request for the work is to remove all mottled, flashy decorations, abstract and general techniques, simple and smooth modeling, deep stillness and deep sense of space, do not cling to the trivial details, and take the initiative to pay attention to the large form and the formal language. In order not to destroy the guiding role of the sculpture theme direction, the content is deeply embedded in the core of the problem of audience contact and exploration and the desire for knowledge that can bring to the audience, so that the audience can accompany the emotional ups and downs of the sculpture, combined with the actual feelings. The audience will have a conclusive assessment of the sculpture. Among other things, we mainly understand that materials are living, that materials are the carriers of creation, and that they are also the source of inspiration for artists. Respecting materials means respecting themselves, believing in the life of materials, so that we can have a dialogue with materials. To reach a consensus, how to do this? what we first have to do is to conduct a comprehensive analysis and arrangement of the materials so that our team can have a deeper understanding and understanding of the materials. Here, we cannot analyze each material on its own. We can only give a comprehensive explanation based on the properties shared by the material, and explain the role mentioned in the material attributes during the concrete implementation of the creative process. We all know that they all have a specific external form in view of the material in the world. There are changes in mental consciousness and through practice, so all materials are classified into four attributes: physical attributes, chemical attributes, physiological attributes, functional attributes.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：J304

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