本文選題：程氏墨苑　切入點：圖像環(huán)路　出處：《中央美術(shù)學(xué)院》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：《程氏墨苑》由明萬歷年間安徽歙縣制墨名家程大約輯刻，畫家丁云鵬、吳廷羽等繪圖，徽州黃氏木刻名工黃應(yīng)泰、黃應(yīng)道等鐫刻。本文并非只是一篇關(guān)于《程氏墨苑》的文章，是想借《程氏墨苑》來說圖像的復(fù)制與流動，而不是孤立地研究某一藝術(shù)門類或風(fēng)格。在當(dāng)時和現(xiàn)在的著述與評判體系中，繪畫被認為是中國藝術(shù)的主體，，大量存在于其他承載物上的復(fù)數(shù)性圖像則被簡略提及并認為是次等地位，然而筆者認為不僅是圖像的生成，圖像的復(fù)制與流動本身也蘊含著巨大的價值，催生著創(chuàng)新。因此，筆者試圖借用“圖像環(huán)路”的概念來研究《程氏墨苑》中的圖像，這部書收錄了傳統(tǒng)的制墨范式，挪用并改造了繪畫作品，以傳統(tǒng)木刻的方式轉(zhuǎn)化了西方圣經(jīng)題材銅版畫，摹刻了文人書法篆刻及羅馬拼音，轉(zhuǎn)化了其他工藝品的圖像和造型，是圖像環(huán)路中的重要連接點。流動的圖像在不同的承載物之間轉(zhuǎn)化，材料特殊性限制了圖像的表達，同時也賦予圖像以不同的材料美感。更重要的是，當(dāng)圖像形成環(huán)路快速交互運動時，一定會促進社會中某些節(jié)點的進化，例如，促進了彩色印刷技術(shù)的成熟，推動了文化間的循環(huán)交流，也使原有的藝術(shù)門類間產(chǎn)生互相滲化的現(xiàn)象。同時《程氏墨苑》是由“文人”與“藝匠”共同創(chuàng)造的，本文也試圖消解由創(chuàng)作者、消費者的社會地位來決定的繪畫與工藝間的地位懸殊。
[Abstract]:Cheng's Moyuan was collected from famous Mo artists in Shexian County, Anhui Province during the Ming Dynasty. The painters Ding Yunpeng, Wu Tingyu and other drawings, Huang Yingtai, a famous woodcarver in Huizhou, Huang Ying-dao and others are engraved. This article is not just an article on "Cheng's Moyuan". It is intended to use "Cheng's Moyuan" as an example of the reproduction and flow of images. Instead of studying an art category or style in isolation, painting was regarded as the subject of Chinese art in the writing and judging system at that time and in the present. A large number of complex images, which exist on other loaders, are briefly mentioned and regarded as inferior status. However, the author thinks that not only the generation of images, but also the reproduction and flow of images have great value, which leads to innovation. The author tries to use the concept of "Image Loop" to study the images in "Cheng's Moyuan". This book contains the traditional ink making paradigm, misappropriates and modifies painting works, and transforms the Western biblical copperplate in the way of traditional woodcut. Imitating literati calligraphy and seal cutting and Roman pinyin, transforming the images and shapes of other handicrafts, which is an important connecting point in the image loop. The flowing images are transformed between different loaders, and the material particularity limits the expression of the images. It also gives the image a different material aesthetic. More importantly, when the image forms a loop of rapid interaction, it is bound to contribute to the evolution of certain nodes in society, for example, to the maturity of color printing technology. It promotes the circular communication between cultures, and also causes the phenomenon of infiltration among the original art categories. At the same time, Cheng's Moyuan was created jointly by "literati" and "artisans". This paper also tries to dispel the creators. The social status of consumers determines the difference between painting and craftsmanship.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J217

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