本文關(guān)鍵詞： 水印版畫 南北方 地域性　出處：《上海師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：中國水印版畫是以水性顏料印刷,產(chǎn)生的一種具有“水味”的版畫形式,發(fā)展至今已有兩千多年的歷史。在這漫長的過程中,水印版畫的表現(xiàn)形式、藝術(shù)風(fēng)格,隨著自然環(huán)境、制作方式、文化背景因素的不斷變化而轉(zhuǎn)變,逐漸從古代的復(fù)制版畫蛻變?yōu)楝F(xiàn)代的創(chuàng)作版畫。中國現(xiàn)代水印木刻幾乎與新興木刻同時期發(fā)展起來,汲取了中國傳統(tǒng)繪畫的精髓,立足于中國民族審美的基礎(chǔ)之上,具有鮮明的民族特色。我國疆域遼闊、民族眾多,截然不同的自然條件、絢爛多彩的民族文化造就了各地不同的風(fēng)情人文特色,使得我國南方和北方人文地理也有較大的差別,導(dǎo)致了南、北方藝術(shù)家在水印版畫創(chuàng)作中的風(fēng)格各有千秋。由于南、北方氣候條件與水印版畫印刷條件、環(huán)境的區(qū)別,所以造就了不同地域的印制技法、表現(xiàn)形式以及人們審美趣味的不同。因此筆者希望能通過對水印木刻的歷史梳理以及南、北方水印版畫的深入探索與比較,推進(jìn)和完善水印木刻的認(rèn)識與研究。目前,中國現(xiàn)代水印版畫在中國南、北方已形成各具代表的現(xiàn)代水印版畫群體。本論文主要是以南方的江蘇水印版畫、以及北方的北大荒水印版畫為例,通過查閱相關(guān)文獻(xiàn)資料,分析其南、北方水印版畫的相似點(diǎn)與不同點(diǎn),深入探究造成其風(fēng)格迥異的因素。如今,水印技術(shù)是一種創(chuàng)作手法,不僅僅是復(fù)制的作用,更是傳達(dá)地域文化,乃至民族文化的藝術(shù)形式。歷史遺留下來精美的水印版畫作品,都是寶貴的、豐厚的文化遺產(chǎn),這些都讓我們更應(yīng)該重新審視水印版畫存在的價(jià)值。深入挖掘水印版畫內(nèi)在的文化內(nèi)涵,使得這門具有悠久歷史的傳統(tǒng)技藝能夠繼續(xù)傳承。
[Abstract]:Chinese watermarked printmaking is a water-based pigment printing, which has a "water flavor" printmaking form, which has a history of more than 2,000 years. In this long process, the expression of watermarked printmaking, artistic style. Along with the natural environment, the production method, the cultural background factor unceasing change and change. Gradually from the ancient reproduction of printmaking to modern creative printmaking. Chinese modern watermarked woodcut almost developed with the same period of emerging woodcut, absorbing the essence of traditional Chinese painting. Based on the Chinese national aesthetic basis, with distinct national characteristics. China has a vast territory, a large number of nationalities, completely different natural conditions. Colorful national culture has created different cultural characteristics of different places, so that there are great differences between the southern and northern human geography, leading to the South. Northern artists in the creation of watermarked prints have their own styles. Due to the climate conditions in the south and the north and watermarked printmaking conditions, the difference between the environment, so the printing techniques of different regions have been created. Therefore, the author hopes to comb the history of the watermark woodcut and to explore and compare the watermarked woodcut in the south and the north. Promote and improve the understanding and research of watermark woodcut. At present, Chinese modern watermarked printmaking in the south and north of China has formed representative groups of modern watermarked printmaking. This paper is mainly based on Jiangsu watermarked printmaking in the south. As well as the north of the Beidahuang watermarked printmaking as an example, through the reference of relevant literature, analysis of the similarities and differences between the north and south watermarks, in-depth exploration of the factors that cause its different styles. Now. Watermark technology is a creative technique, not only the role of replication, but also to convey regional culture, and even the art form of national culture. Because of the rich cultural heritage, we should re-examine the value of watermark printmaking, and dig into the inherent cultural connotation of watermark printmaking, so that this traditional technology with a long history can continue to be passed on.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J217

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本文編號：1443925