【摘要】：作為云南版畫中一項重要的表現(xiàn)技法,絕版套色木刻曾經(jīng)為云南版畫的崛起奠定了里程碑式的基礎(chǔ)。而今在當(dāng)代藝術(shù)大潮下,同時隨著工業(yè)形態(tài)的改變、社會經(jīng)濟(jì)的進(jìn)步,機(jī)器印刷業(yè)制品的大量生產(chǎn),使絕版套色木刻的影響變的漸趨微薄。絕版套色木刻不受重視,究其原因,一方面在于絕版套色木刻的藝術(shù)與技術(shù)特色構(gòu)成形式多源繁雜,人們對于絕版套色木刻的了解程度不足；另一方面,作為“藝術(shù)家”的創(chuàng)作群體,他們關(guān)注的重點在于個人藝術(shù)思想的表現(xiàn)上,而不是工藝的設(shè)計制作過程上,因此,他們更多的傾向于選擇油畫、國畫等更加直接的創(chuàng)作方式來完成自已的藝術(shù)表現(xiàn)。如何恢復(fù)和發(fā)展云南絕版套色木刻的強(qiáng)勢,通過設(shè)計藝術(shù)的視角重新審視絕版套色木刻工藝,挖掘提煉絕版套色木刻的設(shè)計價值,正是本文所要探討的主題。此次研究查閱了很多文獻(xiàn)資料,并且開展了實際調(diào)查和創(chuàng)作實踐,在田野調(diào)查、理論研究以及自身創(chuàng)作實踐基礎(chǔ)上,歸納并總結(jié)了當(dāng)前絕版套色木刻制作時運(yùn)用的工具和材料,工藝流程及技法,并且探究了技法的形成過程。經(jīng)過系統(tǒng)、全面分析之后,分別從絕版套色木刻的藝術(shù)表現(xiàn)特色與制作工藝特色兩個方面對絕版套色木刻做出研究,對絕版套色木刻工藝的整套設(shè)計制作過程做出總結(jié),提取絕版套色木刻制作工藝中的設(shè)計價值。究竟如何才能做到對于絕版套色木刻設(shè)計價值進(jìn)行挖掘解讀,讓絕版套色木刻在現(xiàn)代生活中有效的傳承與創(chuàng)新,筆者認(rèn)為應(yīng)從以下幾個方面展開探索：(1)從絕版套色木刻產(chǎn)生的源起與制作所需要的工具、材料上挖掘其設(shè)計價值。(2)以絕版套色木刻經(jīng)過嚴(yán)密的設(shè)計思維的制作過程上提煉其設(shè)計價值。(3)通過絕版套色木刻的產(chǎn)品開發(fā)運(yùn)用來升華其設(shè)計價值。
[Abstract]:As an important performance technique in Yunnan printmaking, out-of-print woodcut once laid a milestone foundation for the rise of Yunnan printmaking. Nowadays, under the tide of contemporary art, with the change of industrial form, the progress of social economy, and the mass production of machine printing products, the influence of out-of-print color woodcut has become more and more meagre. The reason is that the artistic and technical characteristics of the out-of-print overlay wood engraving are complicated, and people do not know enough about the out-of-print overlay wood engraving. On the other hand, as a creative group of "artists", their focus is on the expression of individual artistic thoughts, rather than on the process of designing and making craft, so they tend to choose oil paintings more often. Traditional Chinese painting and other more direct creative ways to complete their own artistic expression. How to restore and develop the strength of Yunnan out-of-print overlay woodcut, through the perspective of design art to re-examine the technology of out-of-print overlay woodcut, excavate the design value of extraction of out-of-print overlay woodcut, is the theme of this paper. This study consulted a lot of literature, and carried out practical investigation and creative practice. On the basis of field investigation, theoretical research and its own creative practice, the paper summarized the tools and materials used in the production of out-of-print woodcut. Process and techniques, and explore the formation of the process. After a systematic and comprehensive analysis, this paper makes a study on the out-of-print overlay wood engraving from two aspects of the artistic expression characteristics and the production process characteristics, and summarizes the whole design and production process of the out-of-print overlay wood engraving process. Extract the design value of out-of-print color wood engraving process. How on earth can we excavate and interpret the design value of out-of-print overlay wood carvings so that they can be effectively inherited and innovated in modern life? The author believes that the following aspects should be explored: (1) from the origin and production of out-of-print overlay wood carvings, Mining its design value on materials. (2) refining its design value from the production process of strict design thinking. (3) sublimating its design value through the product development and application of out-of-print overlay wood engraving.
【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】：2016
【分類號】：J217

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王文廣;;歸[J];新疆藝術(shù)學(xué)院學(xué)報;2009年03期

2 賈霞;;遺[J];新疆藝術(shù)學(xué)院學(xué)報;2009年03期

3 張禎麒;;白夜(套色木刻，，1985)[J];魯迅研究月刊;2012年03期

4 晁楣;;北方九月(套色木刻,1963)[J];魯迅研究月刊;2012年09期

5 胡抗;;嶺南春(套色木刻)[J];中國水利;1963年09期

6 牛文;;紅云(套色木刻)[J];中國水利;1964年14期

7 莫n,;;工地橋頭(套色木刻)[J];中國水利;1964年21期

8 隋幫;\ 套色木刻‘造船^嘁喚恰囊鈮媅J];美術(shù);1954年11期

9 趙延年;我們要和時間賽跑(套色木刻)[J];美術(shù);1955年01期

10 張漾兮;西湖風(fēng)光(套色木刻)[J];美術(shù);1955年01期

相關(guān)重要報紙文章 前1條

1 張麗紅;“紙上寶石”藏書票[N];中華工商時報;2003年

相關(guān)碩士學(xué)位論文 前8條

1 趙瑞璇;對絕版套色木刻的研究及我的創(chuàng)作[D];云南藝術(shù)學(xué)院;2016年

2 伏姍姍;重構(gòu)與疊加—套色木刻版畫色彩的隱喻性思維研究[D];河北師范大學(xué);2016年

3 張?zhí)僖?絕版套色木刻設(shè)計價值解讀[D];云南藝術(shù)學(xué)院;2016年

4 肖子剛;賀昆與絕版套色木刻[D];云南藝術(shù)學(xué)院;2012年

5 王雪松;交互式云南絕版套色木刻數(shù)字合成技術(shù)研究[D];云南大學(xué);2015年

6 周佳賢;絕版油印套色木刻研究[D];中國美術(shù)學(xué)院;2014年

7 李軍;限制與風(fēng)格[D];中央美術(shù)學(xué)院;2013年

8 金曉華;中國絕版木刻的語言流變與拓展之研究[D];云南藝術(shù)學(xué)院;2009年

本文編號：2362452