本文選題：現(xiàn)代 + 黑白木刻�。� 參考：《延邊大學(xué)》2014年碩士論文

【摘要】：黑白木刻藝術(shù)歷史悠久,其制作方法相對(duì)其他版種簡易,表現(xiàn)語言多樣而深受廣大藝術(shù)創(chuàng)作者的喜愛,但隨著時(shí)代的發(fā)展,新的版種及其藝術(shù)種類不斷出現(xiàn),使得傳統(tǒng)的黑白木刻版畫愈加邊緣化,黑白木刻版畫的傳統(tǒng)制作方式與新科技的矛盾也日益呈現(xiàn),以傳播印刷為主的黑白木刻已經(jīng)退出歷史舞臺(tái),其角色也在發(fā)生著變化,這就給現(xiàn)代黑白木刻提出了新的要求。黑白木刻在繼承傳統(tǒng)木刻藝術(shù)的基礎(chǔ)上,又要?jiǎng)?chuàng)新其藝術(shù)表達(dá)形式,諸如在創(chuàng)作主題、傳達(dá)觀念、制作手段等這些方面進(jìn)行與時(shí)俱進(jìn)的改進(jìn),這就要求我們充分理解現(xiàn)代黑白木刻的表現(xiàn)形式,發(fā)現(xiàn)其本質(zhì)的魅力,從中不斷提取和探究黑白木刻版畫適應(yīng)現(xiàn)代環(huán)境的根本元素,從而創(chuàng)作出更加具有時(shí)代性的木刻版畫。 本論文主要對(duì)現(xiàn)代黑白木刻中點(diǎn)、線、面、陰陽刻等多樣的表現(xiàn)形式進(jìn)行了具體研究,采用典型性的名家作品綜合分析其表現(xiàn)特性,針對(duì)性的分析其獨(dú)特的藝術(shù)魅力。本論文的第一章緒論部分主要闡述了課題背景、研究目的及意義、研究內(nèi)容及方法；第二章主要講述了現(xiàn)代黑白木刻的概念界定及其特點(diǎn)和發(fā)展過程；第三章結(jié)合具體的作品論述了現(xiàn)代黑白木刻的表現(xiàn)形式,從“點(diǎn)”、“線”、“面”、“陰刻、陽刻”四個(gè)方面進(jìn)行分析,結(jié)合版畫中獨(dú)有的黑白灰關(guān)系和處理方式,再加上自己在創(chuàng)作中的感受和體驗(yàn),多角度分析木刻藝術(shù)的創(chuàng)作形式；第四章對(duì)本論文進(jìn)行總結(jié)和對(duì)未來黑白木刻藝術(shù)發(fā)展做出了展望。 黑白木刻版畫中的點(diǎn)、線、面的具體表現(xiàn)形式是需要不同種刀具來展現(xiàn)的,不同的刀具展現(xiàn)出的藝術(shù)效果不一,還有其獨(dú)到的陰刻和陽刻的制作手段,這些因素造就了黑白木刻版畫視覺語言的獨(dú)特性。這種形式語言的唯一性也表明了黑白木刻版畫的不可替代性,在黑白之間創(chuàng)作無限的遐想。 在木版畫的創(chuàng)作過程中,不論是創(chuàng)作手段和表達(dá)方式都在隨著時(shí)代發(fā)生轉(zhuǎn)化,制作版畫群體的范圍在不斷大眾化、畫面語言不斷多樣化、畫面主題不斷個(gè)性化和隱喻化等。黑白木刻從繼承到模仿再到現(xiàn)代創(chuàng)新的個(gè)性化,離不開時(shí)代背景的因素,也離不開藝術(shù)家們對(duì)其刻苦鉆研的創(chuàng)新。
[Abstract]:Black and white woodcut art has a long history, its production method is relatively simple, the expression language is diverse and deeply loved by the majority of art creators, but with the development of the times, the new edition species and its art types appear constantly. As a result, the traditional black-and-white woodcut prints have become more marginalized, and the contradiction between the traditional production methods of black-and-white woodcut prints and the new technology is increasingly emerging. The black-and-white woodcut, which is mainly spread and printed, has withdrawn from the historical stage, and its role is also changing. This puts forward new requirements for modern black and white wood carving. Black and white wood carvings on the basis of inheriting the traditional woodcut art, but also to innovate its artistic expression form, such as in the creation of the theme, convey ideas, production means and other aspects of the improvement with the times. This requires us to fully understand the manifestation of modern black-and-white woodcut, find its essence of charm, and constantly extract and explore the basic elements of black-and-white woodcut prints to adapt to the modern environment, so as to create a more contemporary woodcut printmaking. This paper mainly focuses on the modern black and white woodcut of the middle point, line, face, Yin and Yang engraving and other diverse forms of expression of specific research, the use of classic masterpieces comprehensive analysis of its performance characteristics, targeted analysis of its unique artistic charm. The first chapter introduces the background of the subject, the purpose and significance of the research, the content and method of the research, the second chapter mainly describes the definition of modern black and white wood carving, its characteristics and development process. The third chapter discusses the expression form of modern black-and-white woodcut in combination with concrete works. It analyzes the four aspects of "dot", "line", "face", "Yin engraving, Yang carving", and combines the unique black and white grey relation and processing method in print. In addition, his own feelings and experience in the creation, multi-angle analysis of woodcut art creation form; the fourth chapter summarizes this paper and the future development of black-and-white woodcut art made a prospect. In black-and-white woodcut prints, the specific forms of expression of points, lines, and surfaces need different kinds of cutting tools to show. Different cutters exhibit different artistic effects, as well as their unique means of making Yin and Yang carvings. These factors create the uniqueness of the visual language of black and white woodcut prints. The uniqueness of this formal language also shows that black-and-white woodcut prints are irreplaceable, creating infinite reverie between black and white. In the process of woodcut creation, both creative means and expression methods are changing with the times, the range of the group of printmaking is constantly popularizing, the language of the picture is diversifying, the theme of the picture is becoming individualized and metaphorical, and so on. Black and white wood carvings from inheritance to imitation to modern innovation personalized, can not do without the background of the times, but also inseparable from the artists to its assiduous innovation.
【學(xué)位授予單位】：延邊大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J217

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本文編號(hào)：1911099