發(fā)布時間：2018-05-16 14:17

  本文選題：絕版木刻 + 云南本土美術(shù)��； 參考：《云南藝術(shù)學(xué)院》2014年碩士論文

【摘要】：云南絕版木刻在二十世紀80年代中至90年代中在國際、國內(nèi)美術(shù)界散發(fā)著奇異的光芒，其藝術(shù)形式的新穎和個性的表達得到了良好的贊譽和追捧。直到今天，云南的絕版木刻在經(jīng)歷了“風(fēng)情熱”、“回歸熱”、“尋根熱”的相繼起伏發(fā)展之后，在云南絕版木刻創(chuàng)作者們冷靜思考之下；在現(xiàn)代版畫創(chuàng)作融合多種技術(shù)和形式、創(chuàng)作新思想、自我表現(xiàn)及個性的張揚意識逐漸增強之下；個人價值觀及審美價值越來越倍受關(guān)注的今天，云南絕版木刻也同樣面臨著抉擇，同時云南的絕版木刻也已經(jīng)開始向多元化發(fā)展。本文試圖從云南本土美術(shù)對云南絕版木刻創(chuàng)作的黃金時期、低谷時期分析原因，探究云南絕版木刻創(chuàng)作在當(dāng)下版畫創(chuàng)作大環(huán)境中應(yīng)如何創(chuàng)新進行實踐與思考。文章分三部分進行論述： 第一部分：版畫創(chuàng)作中本土美術(shù)語言資源，主要探討版畫創(chuàng)中的本土美術(shù)資源與地域因素的關(guān)系從而對版畫創(chuàng)作直接和間接的影響。 第二部分：云南絕版木刻創(chuàng)作中本土美術(shù)資源，主要探討由于地域文化的不同呈現(xiàn)的云南本土文化也各不相同，版畫家對地域文化的選擇所呈現(xiàn)的不同表現(xiàn)形式和審美情趣。 最后，通過我具體的版畫創(chuàng)作實踐的分析，對當(dāng)下非物質(zhì)文化遺產(chǎn)的缺失，，應(yīng)當(dāng)加以弘揚并保護與傳承優(yōu)秀民族傳統(tǒng)文化，對云南這片美麗、神奇、富饒的土地和優(yōu)秀的少數(shù)民族民間美術(shù)在當(dāng)下的價值與意義進行思考和反思。我以云南民族區(qū)域內(nèi)比較有典型代表的傣族小乘佛教壁畫作為本次創(chuàng)作的依托，以絕版木刻的表現(xiàn)手法和殘片的藝術(shù)形式來展現(xiàn)傣族小乘佛教壁畫從而來體現(xiàn)傣族文化的藝術(shù)魅力，進一步闡述我的創(chuàng)作思路即立足本土，在傳統(tǒng)文化基礎(chǔ)注入當(dāng)代人文精神才能提升創(chuàng)作者的審美和情感的抒發(fā)，云南的絕版木刻創(chuàng)作在本土文化的熏陶下更具有創(chuàng)作的自信心和爆發(fā)力。
[Abstract]:Yunnan out-of-print woodcut in the mid-1980s to the mid-1990s in the international, the domestic art community is emitting a strange light, its artistic form of novel and personality expression has been good praise and pursuit. To this day, Yunnan's out-of-print woodcarving has experienced the ups and downs of "amorous feelings", "regression fever" and "root-seeking fever", under the calm consideration of Yunnan out-of-print woodcut creators; With the integration of various techniques and forms in modern printmaking, the awareness of new ideas, self-expression and individuality is gradually enhanced. Today, personal values and aesthetic values are attracting more and more attention. Yunnan out-of-print woodcut also faces the choice, at the same time Yunnan out-of-print woodcut has also begun to diversified development. This paper attempts to analyze the causes of Yunnan out-of-print woodcut creation in the golden period of Yunnan native art, and to explore how Yunnan out-of-print woodcut creation should be innovated in the present environment of print creation. The article is divided into three parts: The first part: the native art language resources in the print creation, mainly discusses the relationship between the local art resources and the regional factors in the print creation, thus directly and indirectly affects the print creation. The second part: Yunnan out-of-print woodcut creation in the local art resources, mainly because of the different regional culture of Yunnan native culture is different, the printmaker's choice of regional culture presents different forms of expression and aesthetic interest. Finally, through the analysis of my specific printmaking practice, we should carry forward and protect and inherit the excellent traditional culture of the nation, which is beautiful and magical to Yunnan, for the lack of the current intangible cultural heritage. Rich land and excellent folk art of ethnic minorities in the present value and significance of reflection and reflection. I take the Dai Mahayana Buddhist frescoes, which are typical in Yunnan ethnic areas, as the basis for this creation. With the expression technique of out of print woodcut and the art form of fragments to show Dai small Hinayana Buddhist murals to reflect the artistic charm of Dai culture, further expound my creative idea that is, based on the native place. Only by injecting contemporary humanistic spirit into the foundation of traditional culture can the creators' aesthetic and emotional expression be enhanced. Yunnan's out-of-print woodcut creation is more confident and explosive under the influence of local culture.
【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J217

【參考文獻】

相關(guān)期刊論文 前3條

1 王琦;回顧與前瞻[J];美術(shù);2001年01期

2 魏啟聰;金泳強;;云南版畫和“絕版木刻”[J];云南藝術(shù)學(xué)院學(xué)報;2005年04期

3 湯海濤;;地域美術(shù)的現(xiàn)實境遇與當(dāng)代意義——寫在全球化背景和多元文化競爭的格局下[J];藝術(shù)探索;2009年04期

本文編號：1897209