本文選題：當(dāng)代抽象雕塑 + 存在�。� 參考：《東北師范大學(xué)》2014年碩士論文

【摘要】：現(xiàn)代人類社會(huì)的進(jìn)步與發(fā)展,文明的建設(shè)和人類對(duì)物質(zhì)的運(yùn)用促進(jìn)了不同文化之間的聯(lián)系,形成了一種新的文化系統(tǒng)�，F(xiàn)代藝術(shù)不是單純的藝術(shù)現(xiàn)象,它還是一個(gè)復(fù)雜的社會(huì)和文化現(xiàn)象。現(xiàn)代雕塑是開拓新空間的原動(dòng)力,不僅僅緣起于新的視覺經(jīng)驗(yàn)或新技術(shù)的壓力,社會(huì)現(xiàn)實(shí)本身的變化對(duì)這一新興事物的觸動(dòng)更大。 本研究的主要思路來自于19世紀(jì)雕刻藝術(shù)的發(fā)展變化過程。這一過程的主要特點(diǎn)是思維方式的轉(zhuǎn)變,從以往高高在上的彼岸世界回歸到現(xiàn)實(shí)生活中的此岸世界,與現(xiàn)實(shí)的人建立真實(shí)的聯(lián)系,反映人們真實(shí)的生活狀態(tài)。這一變化也深刻表現(xiàn)在了我的作品當(dāng)中,包括作品質(zhì)料和制作方式的變化,諸如鐵和焊接等。與此同時(shí),抽象雕塑逐漸擺脫了視覺上固定的形狀模仿,而是更加注重物體在觀念中的呈現(xiàn),再以抽象雕塑的形式展現(xiàn)出來。這是一種視覺與觀念的革命,這一變化,帶來了空間知覺的轉(zhuǎn)變,并能夠使作品同時(shí)表現(xiàn)出無限的自由。本文首先從當(dāng)代雕塑的發(fā)展變化開始研究,即明確現(xiàn)代雕塑的特點(diǎn)：有機(jī)體形象的不斷出現(xiàn)。有機(jī)體形象的不斷出現(xiàn),是雕塑中時(shí)間與空間概念的變化帶來的。通過分析這一變化,并將其運(yùn)用至我的作品當(dāng)中,以此來呈現(xiàn)我作品的特點(diǎn)：“有機(jī)體形象的內(nèi)在空間”——通過對(duì)雕塑和空間的重新定義,以研究不同客體之間的“關(guān)系”。 論文分為四大部分。第一章緒論,主要闡述研究目的與意義和研究方法及其范圍；第二章主要分析本人作品的的創(chuàng)作背景,定義有機(jī)體形象的基本范疇,及呈現(xiàn)其相應(yīng)的發(fā)展階段；第三章主要分析當(dāng)代抽象雕塑中有機(jī)體形象的內(nèi)在空間的研究現(xiàn)狀與本人作品之間的內(nèi)在關(guān)聯(lián)及主要分析本人作品的創(chuàng)作主題與制作方法等；第四章結(jié)論部分則對(duì)全文進(jìn)行概括總結(jié),形成作者關(guān)于現(xiàn)代雕塑中有機(jī)體形象的內(nèi)在空間的基本觀點(diǎn)。
[Abstract]:The progress and development of modern human society, the construction of civilization and the use of material have promoted the relationship between different cultures and formed a new cultural system. Modern art is not a simple artistic phenomenon, it is a complex social and cultural phenomenon. Modern sculpture is the motive force to open up new space, not only because of the new visual experience or the pressure of new technology, but also because of the change of the social reality itself. The main idea of this study comes from the development and change of the art of sculpture in the 19 th century. The main characteristic of this process is the change of the mode of thinking. It returns from the high world in the past to the real world in the real life, establishes the real connection with the real people, and reflects the real life state of the people. This change is also deeply reflected in my works, including changes in material and production methods, such as iron and welding. At the same time, abstract sculpture gradually gets rid of the visual fixed shape imitation, but pays more attention to the presentation of objects in the concept, and then presents it in the form of abstract sculpture. This is a revolution of vision and concept, which brings about the change of spatial perception and makes the works show unlimited freedom at the same time. This paper begins with the development and change of contemporary sculpture, that is, defining the characteristics of modern sculpture: the appearance of organism image. The appearance of organism image is caused by the change of time and space in sculpture. By analyzing this change and applying it to my works, this paper presents the characteristics of my works: "the inner space of organism image"-through the redefinition of sculpture and space, to study the "relationship" between different objects. The thesis is divided into four parts. The first chapter introduces the purpose, significance, research method and scope of the research, the second chapter mainly analyzes the background of my works, defines the basic category of the organism image, and presents its corresponding development stage. The third chapter mainly analyzes the research status quo of the internal space of the organic image in the contemporary abstract sculpture and the internal relation between my works, and mainly analyzes the creation theme and the production method of my works. The conclusion of the fourth chapter summarizes the whole text and forms the author's basic views on the inner space of the organic image in modern sculpture.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J305

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本文編號(hào)：2040903