本文關(guān)鍵詞： 精神指向 視覺符號(hào) 套色木刻 版畫風(fēng)格　出處：《魯迅美術(shù)學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：精神指向是指創(chuàng)作主體運(yùn)用藝術(shù)思維表達(dá)內(nèi)心情感的方向。版畫家應(yīng)加強(qiáng)主體精神架構(gòu)的搭建和自身思維深度以及對(duì)生活體悟的關(guān)注。同時(shí)版畫家的精神指向亦不能脫離技術(shù)和實(shí)踐的相結(jié)合,如果套色木刻版畫的創(chuàng)作與其應(yīng)有的技術(shù)和實(shí)踐相互脫離,單一的抽象思維就僅僅變成了不值一提的思維軀殼。版畫的間接性是藝術(shù)創(chuàng)作中非常重要的一個(gè)環(huán)節(jié),這是不可爭(zhēng)辯的事實(shí)。版畫家無(wú)論從制版還是到印制的每一個(gè)環(huán)節(jié)都應(yīng)該去親力親為。在創(chuàng)作中通過(guò)對(duì)視覺符號(hào)、題材以及媒介的運(yùn)用如何自然的與精神指向相結(jié)合,形成自身特有的精神指向并在內(nèi)容與形式上達(dá)到高度統(tǒng)一是版畫創(chuàng)作的重要所在。本文分為三個(gè)大部分:第一部分概述了在版畫藝術(shù)的創(chuàng)作中其精神內(nèi)涵的重要性,藝術(shù)家應(yīng)將自身的精神與實(shí)踐相結(jié)合從而達(dá)到一個(gè)全新的高度。第二部分論述了在創(chuàng)作中視覺符號(hào)和題材選取的重要意義與他們和精神指向的相互關(guān)聯(lián)不可分離。第三部分描述了在創(chuàng)作過(guò)程中自身的實(shí)踐體會(huì)從對(duì)精神性指向的解讀、色彩的運(yùn)用、對(duì)材料的嘗試經(jīng)驗(yàn)以及印刷過(guò)程中細(xì)小環(huán)節(jié)的體悟。
[Abstract]:Spiritual direction refers to the direction in which the creative subject uses artistic thinking to express his inner feelings. The printmaker should strengthen the construction of the subject's spiritual structure and the depth of his own thinking, as well as his concern for the understanding of life. At the same time, the spiritual direction of the printmaker should also be strengthened. Cannot be divorced from the combination of technology and practice, If the creation of woodcut engraving with color is separated from its due technology and practice, the single abstract thinking will only become a mindless body of thinking. The indirectness of printmaking is a very important link in artistic creation. This is an indisputable fact. A printmaker should do everything from plate making to printing. How naturally and spiritually to combine visual symbols, subject matter and the use of media in his creation, It is important to form its own unique spiritual direction and achieve a high degree of unity in content and form. This paper is divided into three parts: the first part outlines the importance of its spiritual connotation in the creation of printmaking art. Artists should combine their own spirit with practice in order to reach a new height. The second part discusses the importance of visual symbol and theme selection in creation and the interrelation between them and spiritual direction. The third part describes the interpretation of spiritual orientation in the process of creation. The use of color, the trial experience of the material and the understanding of the small links in the printing process.
【學(xué)位授予單位】：魯迅美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J217

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本文編號(hào)：1539070