本文選題：雕塑 + 皮影��； 參考：《四川美術(shù)學(xué)院》2017年碩士論文

【摘要】：雕塑發(fā)軔于舊石器時(shí)代,是人類社會(huì)最為古老的藝術(shù)形式,最初僅用于宗教活動(dòng)。由于其具體和直接的藝術(shù)特征更容易被人感知和理解,雕塑逐漸擴(kuò)展到裝飾環(huán)境、記錄事件、表達(dá)情感等領(lǐng)域。站在文化承載的高度看,不同時(shí)期、不同地域和不同文明的雕塑藝術(shù)品無疑構(gòu)成了一部象形人類史。隨著人類社會(huì)不斷發(fā)展,雕塑藝術(shù)也不斷演進(jìn),尤其是當(dāng)代以來,雕塑藝術(shù)呈現(xiàn)出越來越抽象和多元的發(fā)展趨勢(shì)。美國(guó)藝術(shù)評(píng)論家丹托提出“藝術(shù)界”這一概念時(shí)講到:“80年代藝術(shù)的樣式革命已經(jīng)基本結(jié)束,藝術(shù)的問題不再是作品問題而是語境問題。”雕塑正不斷打破媒介的局限而成為一種話語方式。對(duì)于當(dāng)代雕塑,最重要的是應(yīng)用場(chǎng)景中話語的指向性,這也是它與傳統(tǒng)雕塑的根本區(qū)別。皮影戲,也稱皮影,是中國(guó)傳統(tǒng)的民間表演藝術(shù)。關(guān)于皮影的記載最早見于兩漢,其劇本設(shè)置、演出技巧和影偶造型等方面極富民族特色。作為平面藝術(shù)形式,皮影通過造型、雕鏤和配色來表達(dá)豐富的立體世界,是視覺傳達(dá)藝術(shù)領(lǐng)域的一朵奇葩。然而,受限于口口相傳的傳承方式、繁瑣復(fù)雜的影偶制作,以及現(xiàn)代表演藝術(shù)(電影、動(dòng)畫等)快速發(fā)展帶來的沖擊,皮影的受眾正不斷減少,這一古老藝術(shù)形式面臨著后繼乏人、日趨式微的尷尬境地。本文認(rèn)為,皮影這一傳統(tǒng)藝術(shù)形式的表達(dá)方式對(duì)當(dāng)代雕塑有較好的借鑒意義,將皮影造型元素引入雕塑作品能夠產(chǎn)生出色的表現(xiàn)效果。因此,本文從造型藝術(shù)的角度觀察皮影,充分借鑒其造型和配色技巧,尤其關(guān)注透光材質(zhì)在話語表達(dá)中的獨(dú)特作用。文章以“融合與重生”的理念指導(dǎo)創(chuàng)作,對(duì)皮影的造型藝術(shù)元素加以抽象,借助當(dāng)代工藝使之與當(dāng)代雕塑藝術(shù)相融合,借此達(dá)成傳統(tǒng)藝術(shù)元素在當(dāng)代藝術(shù)語境下的重生,也完成語境的構(gòu)建和話語的表述。本著這一目的,本文共分四個(gè)部分。第一部分:論述本文的研究源起和理論背景,結(jié)合雕塑與皮影主題相關(guān)的理論研究成果和藝術(shù)創(chuàng)作現(xiàn)狀,提出本文的研究目的和意義。第二部分:分別論述雕塑藝術(shù)和皮影藝術(shù)的審美特征,從造型藝術(shù)的角度尋找這兩種藝術(shù)形式的相通之處并探討可能的結(jié)合方式。第三部分:結(jié)合創(chuàng)作實(shí)踐探究雕塑作品中的皮影元素應(yīng)用,重點(diǎn)關(guān)注當(dāng)代雕塑領(lǐng)域與本研究相關(guān)的成就和藝術(shù)作品,對(duì)現(xiàn)有作品做深入的分析和解構(gòu),了解皮影元素在雕塑創(chuàng)作中的運(yùn)用情況,為自身藝術(shù)創(chuàng)作尋找具體思路。第四部分:結(jié)合前述理論分析和藝術(shù)成果,以自己的創(chuàng)作作品為核心,通過創(chuàng)作理念及過程的描述,立體化展示皮影元素在雕塑作品中運(yùn)用。
[Abstract]:Born in the Paleolithic Age, sculpture is the oldest form of art in human society, originally used only for religious activities. Because its specific and direct artistic features are more easily perceived and understood, sculpture gradually extends to decorative environment, recording events, expressing emotion and other fields. From the perspective of culture, sculptural works of art in different periods, regions and civilizations undoubtedly constitute a pictographic human history. With the continuous development of human society, sculpture art is also evolving, especially in the contemporary times, sculpture art presents a more and more abstract and pluralistic development trend. When Danto, an American art critic, put forward the concept of "art circle", he said: "the style revolution of art in the 1980s has basically ended, and the problem of art is no longer a question of work but a question of context." Sculpture is constantly breaking the limitations of the media and become a way of discourse. For contemporary sculpture, the most important thing is the directionality of discourse in the application scene, which is the fundamental difference between it and traditional sculpture. Shadow play, also known as shadow play, is a traditional Chinese folk performing art. The record of shadow images was first seen in the Han Dynasty, its script settings, performance techniques and silhouette modeling are extremely national characteristics. As a graphic art form, shadow images express rich three-dimensional world through modeling, engraving and color matching, which is a wonderful flower in the field of visual communication art. However, due to the impact of the transmission of word of mouth, the complicated production of silhouette, and the rapid development of modern performing arts (movies, animation, etc.), the audience of shadow images is dwindling. This ancient art form is faced with an awkward situation of the lack of successors. This paper holds that the expression of shadow shadow as a traditional art form has a good reference significance for contemporary sculpture, and the introduction of shadow modeling elements into sculpture works can produce excellent performance effect. Therefore, from the perspective of plastic arts, this paper observes the shadow, and fully draws lessons from its modeling and color matching skills, especially pays attention to the unique role of transparent materials in discourse expression. Under the guidance of the idea of "fusion and rebirth", the article abstracts the plastic art elements of shadow images, and combines them with contemporary sculpture art with the aid of contemporary craft, thereby achieving the rebirth of traditional artistic elements in the context of contemporary art. It also completes the construction of context and the expression of discourse. For this purpose, this paper is divided into four parts. The first part discusses the origin and theoretical background of this paper, combined with the theoretical research results of sculpture and shadow theme and the present situation of art creation, and puts forward the purpose and significance of this paper. The second part discusses the aesthetic characteristics of sculpture art and shadow art, from the point of view of plastic arts to find the similarities between the two forms of art and explore the possible way of combination. The third part: combined with creative practice to explore the application of shadow elements in sculpture works, focusing on contemporary sculpture related to the achievements and works of art, to do in-depth analysis and deconstruction of existing works, To find out the application of shadow elements in sculpture creation and to find concrete ideas for their own artistic creation. The fourth part: combined with the above theoretical analysis and artistic achievements, with their own creative works as the core, through the creative concept and process of description, three-dimensional display of shadow elements in the use of sculpture works.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J304

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本文編號(hào)：1854011