本文選題：負(fù)空間 + 空間語言�。� 參考：《內(nèi)蒙古師范大學(xué)》2017年碩士論文

【摘要】：藝術(shù)發(fā)展的道路是多方向的,時(shí)代的進(jìn)步促進(jìn)了藝術(shù)的發(fā)展,藝術(shù)形式的多樣化讓藝術(shù)徹底的解放。雕塑發(fā)展離不開空間的構(gòu)建,從古代注重雕塑本體空間石雕到藝術(shù)發(fā)展中期注重雕塑的體積空間感再到現(xiàn)當(dāng)代注重雕塑空間時(shí)期,空間一直都是被研究的重點(diǎn),對(duì)負(fù)空間的探索研究也一直存在,但卻沒有系統(tǒng)的論述研究。然而在當(dāng)下藝術(shù)百家爭(zhēng)鳴的時(shí)代下,在藝術(shù)多樣化時(shí)代下對(duì)雕塑負(fù)空間語言進(jìn)行系統(tǒng)的探索研究是非常有必要的,雕塑負(fù)空間語言是未來雕塑發(fā)展的突破口,也是重要的發(fā)展方向。本論文針對(duì)雕塑空間語言的負(fù)空間方面,通過查閱相關(guān)文獻(xiàn)資料,對(duì)不同時(shí)期的雕塑負(fù)空間的造型手法進(jìn)行研究,并同時(shí)從美學(xué)的角度分析負(fù)空間給人的心理感受。從不同角度和不同的藝術(shù)形式了解負(fù)空間的運(yùn)用,分析負(fù)空間在視覺藝術(shù)中的審美價(jià)值,從而指導(dǎo)今后在雕塑設(shè)計(jì)中學(xué)會(huì)運(yùn)用負(fù)空間進(jìn)行藝術(shù)創(chuàng)作,能夠更好的指導(dǎo)實(shí)踐。再對(duì)中西方雕塑造型中的負(fù)空間的運(yùn)用進(jìn)行對(duì)比研究分析,全面深刻的研究和理解雕塑負(fù)空間的同時(shí)也從文化、生態(tài)、宗教等多重視角下進(jìn)行研究,并進(jìn)行雕塑創(chuàng)作,通過多種嘗試后總結(jié)經(jīng)驗(yàn),便于筆者及廣大學(xué)者們?cè)诘袼軇?chuàng)作中能夠更好的運(yùn)用負(fù)空間語言,塑造出更多出色的雕塑作品。
[Abstract]:The road of the development of art is multidirectional, the progress of the times promotes the development of art, the diversification of the art form makes the art completely liberated. The development of sculpture can not be separated from the construction of space, from the ancient emphasis on the stone sculpture to the middle of the art development to pay attention to the space between the sculpture and the space period of the modern and contemporary sculpture. It has always been the focus of research, and the research on negative space has always existed, but it has not been systematically discussed. However, under the times of contention of art, it is very necessary to study the negative space language of sculpture in the era of art diversification, and the negative space language of sculpture is the development of the future sculpture. The breakthrough is also an important direction of development. In this paper, in view of the negative space of sculpture space language, through consulting relevant documents, this paper studies the modeling techniques of negative space in different periods, and analyses the psychological feelings of negative space from the aesthetic point of view. The use of the space in the visual art of the aesthetic value of visual art, so as to guide the use of negative space in the future in the design of sculpture art, can better guide the practice. Then the use of negative space in the sculptures of Chinese and Western sculptures is compared and analyzed, a thorough study and understanding of the negative space of sculpture at the same time From the multiple perspectives of culture, ecology and religion, and the creation of sculpture, through a variety of attempts to summarize the experience, the author and the majority of scholars in the creation of sculpture can better use the negative space language, to shape more outstanding sculptures.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J305

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 張建鵬;負(fù)空間雕塑語言探索[D];山西大學(xué);2012年

2 周增強(qiáng);淺談雕塑藝術(shù)中的“虛”[D];中國美術(shù)學(xué)院;2011年

3 舒興川;負(fù)空間雕塑語言研究[D];西南交通大學(xué);2010年

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本文編號(hào)：2091906