本文選題：石版印刷術(shù)　切入點(diǎn)：石版畫(huà)　出處：《西南大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】： 石版畫(huà)是版畫(huà)中的獨(dú)立版種,有其獨(dú)特的藝術(shù)特點(diǎn),它的出現(xiàn)極大地豐富并拓展了版畫(huà)的表現(xiàn)力。盡管在中國(guó)近十幾年的發(fā)展中石版畫(huà)已開(kāi)始使用替代品,但依然無(wú)法替代使用石材制作的石版畫(huà)作品的特殊歷史地位。 本文共分三章。第一章石版畫(huà)藝術(shù)的內(nèi)涵。簡(jiǎn)要敘述了石版畫(huà)在國(guó)內(nèi)與國(guó)外不同的生存和發(fā)展背景,分析中、西方石版畫(huà)藝術(shù)發(fā)展的差異導(dǎo)致了中國(guó)現(xiàn)代石版畫(huà)發(fā)展的滯后現(xiàn)象以及石版畫(huà)藝術(shù)發(fā)展中存在的誤區(qū);通過(guò)對(duì)石版畫(huà)技術(shù)與藝術(shù)關(guān)系的比較,進(jìn)一步說(shuō)明“物性”與“人性”的相互依存關(guān)系是現(xiàn)代石版畫(huà)藝術(shù)發(fā)展的核心。石版畫(huà)藝術(shù)的內(nèi)涵是藝術(shù)家精神、個(gè)性、創(chuàng)作思想的體現(xiàn)。離開(kāi)人的發(fā)展、石版畫(huà)技術(shù)的發(fā)展,石版畫(huà)藝術(shù)無(wú)從發(fā)展。 第二章通過(guò)對(duì)近代石版印刷術(shù)在中國(guó)的傳入與應(yīng)用情況的闡述,分析中國(guó)現(xiàn)代石版畫(huà)的產(chǎn)生條件和發(fā)展環(huán)境。將中國(guó)現(xiàn)代各個(gè)時(shí)期、不同領(lǐng)域的石版畫(huà)進(jìn)行比較,說(shuō)明早期的石版畫(huà)僅僅應(yīng)用于商業(yè)、宣傳、廣告、民用等生活領(lǐng)域。先進(jìn)的石版印刷技術(shù)促進(jìn)了早期中國(guó)石版畫(huà)市場(chǎng)的發(fā)展,在石印書(shū)籍、廣告、年畫(huà)等方面的廣泛推廣,為中國(guó)現(xiàn)代石版畫(huà)藝術(shù)的出現(xiàn)創(chuàng)造了社會(huì)環(huán)境。當(dāng)鉛印術(shù)逐漸取代石版印刷術(shù)的歷史地位成為主要的印刷媒介,石版印刷術(shù)在商業(yè)、印刷中逐漸消逝,卻為藝術(shù)家介入石版畫(huà)藝術(shù)的創(chuàng)作提供了條件和可能,石版印刷術(shù)開(kāi)始成為版畫(huà)藝術(shù)的媒介物。 第三章是本文的重點(diǎn)章節(jié),共有四個(gè)小節(jié)。前三個(gè)小節(jié)敘述了中國(guó)現(xiàn)代石版畫(huà)的發(fā)展歷程,分析了各個(gè)時(shí)期代表畫(huà)家的石版畫(huà)作品說(shuō)明其藝術(shù)風(fēng)格與藝術(shù)家本人的精神、思想、生活有緊密的聯(lián)系。石版畫(huà)藝術(shù)的發(fā)展需要技術(shù)的傳承和藝術(shù)的普及,以此說(shuō)明石版畫(huà)藝術(shù)的發(fā)展離不開(kāi)人的發(fā)展。最后一個(gè)小節(jié)是文章的結(jié)論部分,通過(guò)對(duì)石版畫(huà)藝術(shù)產(chǎn)生的社會(huì)價(jià)值和影響的分析,對(duì)中國(guó)當(dāng)代藝術(shù)的生存與發(fā)展的思考,說(shuō)明石版畫(huà)藝術(shù)存在的重要性,中國(guó)石版畫(huà)藝術(shù)發(fā)展的關(guān)鍵是技術(shù)與藝術(shù)、人的精神與物質(zhì)的結(jié)合。
[Abstract]:Lithography is an independent version of printmaking, with its unique artistic characteristics. Its appearance has greatly enriched and expanded the expressiveness of printmaking. Although in the recent ten years of development in China, lithography has begun to use substitutes. However, there is still no substitute for the special historical position of stone prints made of stone materials. This paper is divided into three chapters. The first chapter is the connotation of lithography art. It briefly describes the different survival and development background of lithography in China and abroad. The differences in the development of lithographic art in the West have led to the lagging phenomenon of the development of modern lithography in China and the misunderstandings existing in the development of lithographic art. It is further explained that the interdependence between "materiality" and "humanity" is the core of the development of modern lithographic art. The connotation of lithographic art is the embodiment of artist's spirit, individuality and creative thought. The art of lithography cannot be developed. In the second chapter, by expounding the introduction and application of modern lithography in China, we analyze the conditions and development environment of modern lithography in China. It shows that early lithography was only used in commercial, propaganda, advertising, civil and other fields of life. Advanced lithographic printing technology promoted the development of the early Chinese stone print market and was widely popularized in stone printing books, advertisements, New year's pictures, and so on. It created a social environment for the emergence of modern lithographic art in China. When lead printing gradually replaced the historical position of lithography as the main printing medium, lithography gradually disappeared in the commercial process. However, it provides conditions and possibilities for artists to intervene in the creation of lithographic art, and lithography began to become the medium of printmaking art. The third chapter is the key chapter of this paper, there are four sections. The first three sections narrate the development of Chinese modern lithography, and analyze the art style and the spirit of the artist. The development of stone print art needs the inheritance of technology and the popularization of art, which shows that the development of stone print art can not be separated from the development of human beings. The last section is the conclusion of the article. Through the analysis of the social value and influence of lithography art, the author thinks about the existence and development of Chinese contemporary art, and explains the importance of the existence of lithography art. The key to the development of Chinese lithography art is technology and art. The combination of man's spirit and matter.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J217

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 趙彩霞;銅版畫(huà)創(chuàng)作中的個(gè)性化語(yǔ)言[D];內(nèi)蒙古師范大學(xué);2013年

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本文編號(hào)：1612219