本文選題：傳統(tǒng)版畫 + 象外之象��； 參考：《河北師范大學(xué)》2013年碩士論文

【摘要】：中國藝術(shù)進入21世紀以來，受到西方藝術(shù)的影響頗深，“求新”、“求異”的藝術(shù)思潮成為藝術(shù)家追求的目標。當今時代的版畫藝術(shù)，語言形式的豐富多姿，材料媒介的開拓探索，它的發(fā)展已處于時代的風口浪尖上。它從形式、媒介和材料到本體語言的探索都讓人應(yīng)接不暇，豐富多姿。這種現(xiàn)狀既讓人興奮，同時也令人深思。這種深思引發(fā)了人們對傳統(tǒng)版畫的關(guān)注，應(yīng)該如何對待傳統(tǒng)版畫和激活傳統(tǒng)版畫藝術(shù)資源，使其在當代發(fā)展過程中轉(zhuǎn)化成一種前進的現(xiàn)實力量成為眾藝術(shù)家所關(guān)心的內(nèi)容。從“線”的源頭上對明代時期的傳統(tǒng)木刻版畫的再研究，而以線造型，來源于世界整個文明的發(fā)展，更是中國古代文明的突出特點。使當代人認識理解中國傳統(tǒng)版畫的用線蘊含的文化意蘊，為版畫藝術(shù)創(chuàng)作者正確對待中國傳統(tǒng)版畫提供有力的理論支點。 目前只是有很多文獻記錄著不同時期的版畫發(fā)展歷程，沒有從中國繪畫用線的角度，結(jié)合中國傳統(tǒng)文化中哲學(xué)與美學(xué)的影響，進一步明確中國傳統(tǒng)版畫中靈魂的源頭就在于線。本課題研究傳統(tǒng)藝術(shù)資源中傳統(tǒng)版畫的“線條”，是要從傳統(tǒng)版畫和傳統(tǒng)繪畫的關(guān)系以及線的運用中得出一定的結(jié)論，理解線條呈象以及以線傳情以線達意的精神意義。雖然傳統(tǒng)版畫在這幾個時期都有自己的特點，但個人認為，要想深入研究一種事物，必定會選擇這個事物發(fā)展到最鼎盛的時期為焦點，，在這個時期也是事物發(fā)展到達的成熟期，能體現(xiàn)出最具有特點和特性的一面，才有更強的說服力。我們通過研究對傳統(tǒng)版畫發(fā)展過程進行梳理明確了中國傳統(tǒng)版畫的繁盛時期正是出現(xiàn)輝煌成就與發(fā)展的明代，并遠遠超過其他時期。從中國繪畫中的線表達開始研究，分析明代線的文化內(nèi)涵以及陳洪綬注入版畫的新鮮血液，挖掘與中國繪畫一脈相承的中傳統(tǒng)版畫在中國傳統(tǒng)文化深入影響下的線“象”表達。對“線”的探本求源，得到線條作為中國繪畫獨立藝術(shù)語言對人文情懷的重視，使現(xiàn)代人們在各種外來版畫藝術(shù)思潮的沖擊下正確認識傳統(tǒng)版畫的藝術(shù)資源，并把線作為傳統(tǒng)版畫中的靈魂融入其中，轉(zhuǎn)化成一種追求自由純潔的內(nèi)在精神的力量。 中國傳統(tǒng)木刻版畫的價值是不可忽視的，認識理解中國傳統(tǒng)版畫用線的文化意蘊更為重要�？傊�，藝術(shù)的目的是為了追求最純潔的精神快樂而不是實用。藝術(shù)家不斷豐富自己的精神世界，同時也提升了自己的生活品味，深入研究中國傳統(tǒng)木刻版畫用線的意義與價值體現(xiàn)于此。我們回頭再看一些優(yōu)秀的傳統(tǒng)版畫時，從藝術(shù)的審美角度研究，其中的文化密碼不言而喻。
[Abstract]:Since Chinese art entered the 21st century, it has been deeply influenced by western art. The artistic trend of "seeking novelty" and "seeking difference" has become the goal pursued by artists. Nowadays, the art of print, the rich and colorful language forms, the exploration of material media, its development has been on the cusp of the times. From form, medium and material to the exploration of ontology language, it is full of richness and variety. This state of affairs is both exciting and thought-provoking. This kind of deep thinking has aroused people's attention to the traditional printmaking, how to treat the traditional printmaking and how to activate the traditional printmaking art resources, so that it can be transformed into a kind of advancing realistic force in the contemporary development process and become the concern of many artists. From the source of "line", the restudy of the traditional woodcut prints in Ming Dynasty, and the line modeling, from the development of the whole civilization of the world, is the outstanding characteristic of the ancient Chinese civilization. In order to make the contemporary people understand the cultural implication contained in the line of Chinese traditional prints, it provides a powerful theoretical fulcrum for the creators of print art to treat Chinese traditional prints correctly. At present, there are only a lot of documents recording the development of different periods of printmaking, not from the point of view of the line of Chinese painting, combined with the influence of philosophy and aesthetics in Chinese traditional culture, to further clarify that the source of the soul in Chinese traditional print is the line. The purpose of this paper is to draw a certain conclusion from the relationship between traditional print and traditional painting and the application of line, and to understand the spiritual significance of line showing image and conveying emotion through line. Although the traditional printmaking has its own characteristics in these several periods, I think that in order to study something in depth, we must choose the period when it develops to its highest prosperity, which is also the mature period for the development of things. Can reflect the most characteristic and characteristic side, have stronger persuasion. Through the study of the development of traditional printmaking, we have made it clear that the prosperous period of Chinese traditional print was the Ming Dynasty with brilliant achievements and development, and far exceeded the other periods. Starting with the line expression in Chinese painting, this paper analyzes the cultural connotation of the line in Ming Dynasty and the fresh blood injected by Chen Hongshou into the print, and excavates the line "image" expression of the Chinese traditional printmaking which is closely related to the Chinese painting under the deep influence of the Chinese traditional culture. This paper explores the origin of "line", obtains the importance of line as the independent artistic language of Chinese painting to the humanistic feelings, so that modern people can correctly understand the artistic resources of traditional printmaking under the impact of various kinds of foreign printmaking art thoughts. And the line as the soul of the traditional printmaking into it, into a pursuit of freedom and purity of the inner spirit of strength. The value of Chinese traditional woodcut prints can not be ignored. It is more important to understand the cultural implication of Chinese traditional woodcut prints. In short, the purpose of art is to pursue the purest spiritual happiness rather than practical. Artists constantly enrich their spiritual world, but also improve their own life taste, in-depth study of Chinese traditional woodcut print line significance and value reflected in this. We look back at some excellent traditional prints, from the aesthetic point of view, the cultural code is self-evident.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J217

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本文編號：1925032