本文選題：藝術 + 版畫�。� 參考：《魯迅美術學院》2017年碩士論文

【摘要】：現(xiàn)如今社會發(fā)展的極其迅速,許多不安的因素充斥著人們脆弱的心靈,急需一種安靜來進行調和,這個時候充滿簡約化傾向的事物符合人們內心尋求安逸自然的心理。人們一直試圖將復雜的過程變得清晰合理簡約化,目的是用最少的投入換取最大的回報,第三次工業(yè)革命后,這種需求變得更強烈,在這種社會環(huán)境下簡約主義隨之而生。藝術當中的簡約化傾向主要體現(xiàn)在藝術家在進行創(chuàng)作的時候,開始嘗試用“少”的因素去解決問題,此時的藝術無論從繪畫還是設計當中都涌現(xiàn)著一股簡約化潮流。本文從本專業(yè)的角度來說明一些簡約化“風暴”所帶來的現(xiàn)象以及產生現(xiàn)象的原因,通過文獻研究法以及大量事例解釋版畫當中的簡約化傾向,并尋求在西方和東方的歷史發(fā)展中尋找理論基礎,西方的包豪斯主義、東方的“少即是多”說明著簡約化的這種風格并不是時代特有,而且是不分地域不分種族的,這也體現(xiàn)了真理是全人類共有的,是事物發(fā)展到一定階段必然結合的歷史規(guī)律。本文一共分為四個部分,第一部分首先交代了簡約化所產生的社會背景以及社會現(xiàn)象,由此引入版畫當中的簡約化傾向的現(xiàn)象,通過對具體事例的分析說明簡約化傾向是存在的并且發(fā)揮了作用。第二部分解釋了什么是簡約主義傾向以及簡約化的特點,從這個方面說明產生簡約化的動機。第三部分交代了簡約化傾向并不是今天才有的,在西方包豪斯理論中以及東方傳統(tǒng)哲學當中都是有所體現(xiàn)的,這為我們如今的簡約化提供了強有力的理論作為基礎,同時也讓我們更清晰明了的認識簡約化。第四部分中,將簡約化與非簡約化同時作為比較,并不是所有事物都適合簡約的,所以簡約只是一種認知方式或行為導向,為我們在生活或是藝術創(chuàng)作當中提供一種多樣選擇。
[Abstract]:Nowadays, the society is developing very quickly, many uneasiness factors are filled with people's fragile mind, need a kind of quiet to carry on the reconciliation, at this time the thing that is full of the simplicity tendency accords with people's mind of seeking comfort and nature. People have been trying to make complex processes clear and reasonable, with the aim of getting the maximum return with the least input, the demand became stronger after the third Industrial Revolution, and in this social environment, minimalism followed. The tendency of minimization in art is mainly reflected in the artist's attempt to solve the problem with the factor of "less" when he is creating. At this time, there is a trend of minimization in both painting and design. This paper explains some phenomena brought about by "storm" and the causes of them from the perspective of this major, and explains the tendency of minimization in printmaking through literature research and a large number of examples. And seeks to find the theoretical basis in the historical development of the West and the East. The Western Bauhaus doctrine and the Eastern "less is more" show that this style of simplicity is not unique to the times, and it is regardless of region and race. This also reflects the truth is common to all mankind, is the development of things to a certain stage of inevitable integration of the historical law. This paper is divided into four parts. The first part explains the social background and social phenomenon of minimization, and then introduces the phenomenon of minimization tendency in print. The analysis of concrete examples shows that the tendency of minimization exists and plays an important role. The second part explains what is the tendency of minimalism and the characteristics of minimization. The third part explains that the tendency of minimization is not only present today, but also embodied in the western Bauhaus theory and in the traditional philosophy of the East, which provides a strong theoretical basis for our present-day minimization. At the same time, it also gives us a clearer understanding of simplicity. In the fourth part, the comparison between minimization and non-minimization is not suitable for all things, so simplicity is just a cognitive or behavior-oriented way, which provides us with a variety of choices in our life or artistic creation.
【學位授予單位】：魯迅美術學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J217

【參考文獻】

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1 黃薇;張o，

本文編號：1810832