【摘要】：本文分為三章,下面分章節(jié)介紹成文的過程與思路。首先,第一章是關(guān)于紀(jì)念性雕塑的簡(jiǎn)要論述。在這一章中主要是通過敘述紀(jì)念性雕塑的特點(diǎn)、分類及影響紀(jì)念性雕塑的因素及意義等三方面,來說明紀(jì)念性雕塑的概念、它的形成和基本的發(fā)展過程。從而讓讀者對(duì)紀(jì)念性雕塑有一個(gè)整體粗略的認(rèn)識(shí)。第一節(jié)講述紀(jì)念性雕塑的特點(diǎn),紀(jì)念性雕塑的特點(diǎn)之一是以強(qiáng)烈的雕塑空間布局來表現(xiàn)所要紀(jì)念的人物或事件,并安放于建筑或綜合性的紀(jì)念空間之中(室外或室內(nèi))。其次,紀(jì)念性雕塑多采用適宜長(zhǎng)久保存而不易損毀的材料。第三,紀(jì)念性雕塑需要和特定的空間相聯(lián)系、相融合。第二節(jié)介紹了紀(jì)念性雕塑的題材分為三類:一類是紀(jì)念歷史事件;一類是紀(jì)念歷史人物;一類是紀(jì)念民族情懷及信仰與神話。第三節(jié)主要從功能性、文化、時(shí)代背景三個(gè)方面入手,說明了這三個(gè)因素是如何影響紀(jì)念性雕塑的。第二章中主要介紹紀(jì)念性雕塑的簡(jiǎn)潔化處理與象征意味。本章分為三節(jié),第一節(jié)從象征手法與藝術(shù)符號(hào)的關(guān)系,以及在大眾審美中的作用為切入點(diǎn),講述了其在藝術(shù)作品中的重要性、它的特點(diǎn)及發(fā)展過程。第二節(jié)淺析了簡(jiǎn)潔化處理與象征手法在紀(jì)念性雕塑中的應(yīng)用。從古埃及紀(jì)念性雕塑、古希臘紀(jì)念性雕塑、中國(guó)當(dāng)代紀(jì)念性雕塑等為例,體現(xiàn)了象征意味在雕塑中的廣泛運(yùn)用。在第三節(jié),論文以吳為山的南京大屠殺遇難同胞紀(jì)念雕塑《家破人亡》為例,詳細(xì)論述了這件作品的象征性意義及其作品中對(duì)于雕塑語(yǔ)言符號(hào)化的處理。這一節(jié)將紀(jì)念性雕塑和象征的使用相結(jié)合,在賞析《家破人亡》的同時(shí),也啟發(fā)自己的創(chuàng)作實(shí)踐,從而推動(dòng)對(duì)于突破點(diǎn)和靈感的尋找與探索。第三章主要論述自己的畢業(yè)創(chuàng)作《漠北》系列紀(jì)念性雕塑的創(chuàng)作始末。本章分為兩節(jié),首先,陳述了主題的緣起和靈感來源。描述了在創(chuàng)作中是如何運(yùn)用象征的符.號(hào)語(yǔ)言和簡(jiǎn)潔的表現(xiàn)手法,來表達(dá)自己的情感。對(duì)于《漠北》系列來講,所傳達(dá)的已不再是直接的、具有民族特色的、象征的圖案。單純的藝術(shù)符號(hào)也許代表了一個(gè)地域、一個(gè)民族、一個(gè)信仰……,也可以很直觀的解釋這些內(nèi)容。但它不能充分地濃縮作者的情感與觀念。藝術(shù)作品中更需要屬于自己、可以充分地解釋作品、概括情感的藝術(shù)符號(hào)。它也許是一種輪廓;也許是眼睛的巧妙刻畫;也許是無意間流露的肌理呈現(xiàn)。但它一定是烙印一樣深入人心,這類象征性的符號(hào)不可以是任意為之的,而是需要涵蓋多重情感;需要從感性出發(fā)把主觀的認(rèn)識(shí)歸納成理性的語(yǔ)言。在最后一節(jié)中,講述了在實(shí)際操作過程中遇到的問題,以及所采用的解決方案。這一部分的創(chuàng)作和思考,展現(xiàn)了主觀和客觀世界的聯(lián)系、把抽象的思維和感受具體化的過程。
[Abstract]:This article is divided into three chapters, the following chapters introduce the written process and ideas. First, the first chapter is about the memorial sculpture brief discussion. In this chapter, the concept of memorial sculpture, its formation and basic development process are explained by describing the characteristics, classification, factors and significance of memorial sculpture. So that readers have a rough understanding of the memorial sculpture as a whole. The first section describes the characteristics of commemorative sculpture, one of the characteristics of commemorative sculpture is to use a strong sculpture space to express the character or event to be commemorated, and placed in the building or comprehensive memorial space (outdoor or indoor). Secondly, memorial sculpture more suitable for long-term preservation and not easy to damage the material. Third, memorial sculpture needs to be associated with a specific space. The second section introduces the theme of commemorative sculpture is divided into three categories: one is to commemorate historical events; one is to commemorate historical figures; one is to commemorate national feelings and beliefs and myths. The third section mainly from the function, the culture, the time background three aspects, explained these three factors is how to influence the memorial sculpture. The second chapter mainly introduces the simplified treatment and symbolic meaning of memorial sculpture. This chapter is divided into three sections. The first section describes its importance in art works, its characteristics and development process from the relationship between symbolism and artistic symbols, as well as its role in popular aesthetics. The second section analyzes the application of conciseness and symbolism in commemorative sculpture. Taking the ancient Egyptian monumental sculpture, ancient Greek commemorative sculpture and Chinese contemporary monumental sculpture as examples, symbolism is widely used in sculpture. In the third section, taking Wu Weishan's Nanjing Massacre as an example, the paper discusses in detail the symbolic significance of this work and the treatment of symbolization of sculpture language. This section combines the use of monumental sculpture and symbolism, while appreciating "family breaking apart", it also enlightens one's own creative practice, thus promoting the search and exploration for breakthrough points and inspiration. The third chapter mainly discusses the creation of his graduation creation, A series of commemorative sculptures. This chapter is divided into two sections. First, it describes the origin and inspiration of the theme. Describes how to use the symbol in the creation of the symbol. Number language and simple expression, to express their feelings. For the Mobei series, the message is no longer direct, national, symbolic. Simple artistic symbols may represent a region, a nation, a faith, or they can be explained intuitively. However, it does not sufficiently condense the feelings and ideas of the author. Art works more need to belong to their own, can fully explain the works, generalize the artistic symbols of emotion. It may be a silhouette; it may be a clever portrayal of the eye; it may be an inadvertent presentation of texture. But it must be deeply rooted in the people's heart, such symbolic symbols can not be arbitrary, but need to cover multiple emotions; we need to start from the perceptual subjective knowledge into rational language. In the last section, the problems encountered in practical operation and the solutions adopted are described. This part of the creation and thinking, showing the subjective and objective world, abstract thinking and feelings concrete process.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J305
，

本文編號(hào)：2143874