【摘要】：任何偉大藝術(shù)運(yùn)動(dòng)的興起及藝術(shù)作品的產(chǎn)生都離不開形式語言的創(chuàng)新,而這種創(chuàng)新又往往具有世界性,但這種創(chuàng)造同時(shí)又扎根于不同民族的文化土壤,因?yàn)槭澜缥幕呢S富多樣正是依存與不同民族文化的獨(dú)立性。中國八十年代雕塑,首先在形式語言層面上出現(xiàn)了革命性的變化。,雕塑家可以從這個(gè)角度進(jìn)入,解決當(dāng)時(shí)雕塑界存在的種種問題,因此形成了形式語言的革命。如果說80年代當(dāng)代雕塑語言中更多表現(xiàn)的是關(guān)注形式、語言和媒介等,作品與中國人的內(nèi)心世界和生存狀態(tài)并沒有發(fā)生深層次的聯(lián)系,沒有能夠成為表達(dá)中國人內(nèi)心思想、現(xiàn)實(shí)情感的藝術(shù)渠道,進(jìn)入90年代中國雕塑走到了由形式語言為重心轉(zhuǎn)變?yōu)橐袁F(xiàn)代藝術(shù)的觀念性為重心的時(shí)候,由審美走向文化,雕塑開始成為藝術(shù)家表現(xiàn)社會(huì)文化和社會(huì)意識(shí)的方式。雕塑的表現(xiàn)語言是雕塑自身所具備的特性,會(huì)隨著時(shí)間的前進(jìn)不斷的豐富,但不論怎樣演變雕塑語言本身是沒有新舊、高低之分的,無論是具象、抽象,何種風(fēng)格、主義只有更適合表現(xiàn)主題,適合所處時(shí)代、文化、環(huán)境和人們的思維情感的區(qū)別。而我們對雕塑語言的探討和研究應(yīng)回歸到雕塑的本質(zhì)乃至藝術(shù)的本體角度來審視。從對雕塑的理解和研究來看,對雕塑表現(xiàn)語言的分析和了解更是必要的環(huán)節(jié)。同時(shí)表現(xiàn)語言也是雕塑家手中得力的工具,具有多樣性的特征,這些特征有的會(huì)明確的顯現(xiàn),有的會(huì)隱藏起來讓人去發(fā)掘。對表現(xiàn)語言的了解和認(rèn)識(shí)會(huì)對雕塑創(chuàng)作產(chǎn)生直接影響,雕塑的表現(xiàn)語言是雕塑創(chuàng)作中可以理性思考和面對的部分,帶著這種理性去結(jié)合靈感來思考創(chuàng)作,從表現(xiàn)語言運(yùn)用的角度來審視衡量,會(huì)讓雕塑創(chuàng)作更加完善和成熟。
[Abstract]:The rise of any great artistic movement and the creation of artistic works cannot be separated from the innovation of the formal language, which is often cosmopolitan, but which is rooted in the cultural soil of different peoples at the same time. Because the rich diversity of the world culture is dependent and the independence of different national cultures. In the 1980s, Chinese sculptures first had revolutionary changes on the formal language level. Sculptors could enter from this angle to solve all kinds of problems existing in the sculpture world at that time, thus forming a revolution in the formal language. If the contemporary sculpture language of the 1980s shows more about the form of concern, language and media, and so on, there is no deep connection between the works and the inner world and the living state of the Chinese people, and they have not been able to express the inner thoughts of the Chinese people. In the 90s, the art channel of realistic emotion, when Chinese sculpture changed from formal language to concept of modern art, from aesthetics to culture. Sculpture began to become a way for artists to express their social culture and social consciousness. The expression language of sculpture is the characteristic of sculpture itself, which will be enriched continuously with the progress of time, but no matter how it evolves, the sculpture language itself has no new or old, high or low, no matter what kind of style it is concrete, abstract, and so on. Doctrine is only more suited to the theme, to the age, to the culture, to the environment, and to the differences in people's thoughts and emotions. The discussion and research of sculpture language should return to the essence of sculpture and even the Noumenon of art. From the understanding and research of sculpture, it is necessary to analyze and understand the expression language of sculpture. At the same time, language is also a powerful tool in the hands of sculptors, with the characteristics of diversity, some of these features will be clearly manifested, others will be hidden to explore. The understanding and understanding of the expression language will have a direct impact on the sculpture creation. The expression language of sculpture is the part of the sculpture creation that can be rationally thought and faced, and with this reason it can be combined with inspiration to think about the creation. From the perspective of the use of expression language, it will make sculpture creation more perfect and mature.
【學(xué)位授予單位】：沈陽大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J304

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