怪誕插圖藝術(shù)研究
發(fā)布時(shí)間：2019-01-26 07:23
【摘要】：怪誕插圖本身有著悠久的歷史，卻一直都是作為插圖中的一個(gè)小角色存在著，直到當(dāng)今社會(huì)的發(fā)展，越來越強(qiáng)調(diào)審美多元化，怪誕插圖為觀眾提供了審美的又一選擇；并且，它作為流行文化的一部分，為商業(yè)插圖注入了新的血液，怪誕插圖才引起人們的注意。本文以凱澤爾的怪誕藝術(shù)理論為基礎(chǔ)，參考劉法民教授、湯姆森的怪誕藝術(shù)理論，提出了怪誕插圖藝術(shù)研究的范圍，歸納了怪誕插圖的特征，梳理了怪誕插圖歷史，闡述了怪誕插圖當(dāng)今現(xiàn)狀，結(jié)合自身的實(shí)踐總結(jié)了怪誕插圖的價(jià)值。 首先在本文的第二章，通過對(duì)已有怪誕理論的梳理，明確了怪誕插圖的研究領(lǐng)域是神怪插圖以及帶有滑稽感和兇險(xiǎn)，內(nèi)容反常的插圖。在第三章梳理了怪誕插圖的歷史，并進(jìn)行了中西對(duì)比，發(fā)現(xiàn)中西怪誕插圖在歷史中多出現(xiàn)在宗教典籍當(dāng)中；直到中國的明清時(shí)期和西方15世紀(jì)末之后，，中國市井文化興起，西方人文思想影響力擴(kuò)大，怪誕插圖多以志怪小說或怪誕文學(xué)為土壤。第四章則是通過實(shí)例分析了奇幻文學(xué)中的怪誕插圖、與商業(yè)插圖結(jié)合的個(gè)性怪誕插圖、中國怪誕插圖畫家作品。在現(xiàn)代，奇幻文學(xué)給怪誕插圖提供了創(chuàng)作題材，而怪誕和插圖畫家的個(gè)體創(chuàng)造性相結(jié)合，形成一種新的審美風(fēng)尚。在論文的最后，通過上文理論梳理以及自身對(duì)怪誕插圖及其商業(yè)應(yīng)用的實(shí)踐，總結(jié)了怪誕插圖的藝術(shù)價(jià)值、文化價(jià)值以及商業(yè)價(jià)值。
[Abstract]:The grotesque illustration itself has a long history, but has always existed as a small role in the illustration, until the development of the society, more and more emphasis on aesthetic diversity, strange illustrations for the audience to provide another aesthetic choice; Moreover, as part of pop culture, it infuses new blood into commercial illustrations, and grotesque illustrations attract people's attention. Based on Keizer's theory of grotesque art, referring to Professor Liu Famin and Thomson's theory of grotesque art, this paper puts forward the scope of the study of grotesque illustrations, sums up the characteristics of grotesque illustrations, and combs the history of grotesque illustrations. This paper expounds the current situation of grotesque illustrations and sums up the value of grotesque illustrations in combination with its own practice. In the second chapter of this paper, by combing the existing grotesque theory, it is clear that the research field of the grotesque illustrations is the genie illustrations and the illustrations with funny and dangerous and perverse contents. In the third chapter, it combs the history of grotesque illustrations, and makes a comparison between China and the West, and finds that Chinese and Western grotesque illustrations appear in the religious classics in the history. Until the Ming and Qing dynasties in China and the end of the 15th century in the West, the market culture of China rose, the influence of western humanistic thought expanded, and most of the strange illustrations were based on strange novels or grotesque literature. The fourth chapter analyzes the grotesque illustrations in the fantasy literature, the individual grotesque illustrations combined with the commercial illustrations, and the works of the Chinese grotesque illustrators. In modern times, fantasy literature provides creative themes for grotesque illustrations, and the combination of grotesque and individual creativity of illustrator forms a new aesthetic fashion. At the end of the thesis, the author summarizes the artistic value, cultural value and commercial value of the grotesque illustrations by combing the above theory and their own practice of the grotesque illustrations and their commercial applications.
【學(xué)位授予單位】：北京印刷學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J218.5
本文編號(hào)：2415256
[Abstract]:The grotesque illustration itself has a long history, but has always existed as a small role in the illustration, until the development of the society, more and more emphasis on aesthetic diversity, strange illustrations for the audience to provide another aesthetic choice; Moreover, as part of pop culture, it infuses new blood into commercial illustrations, and grotesque illustrations attract people's attention. Based on Keizer's theory of grotesque art, referring to Professor Liu Famin and Thomson's theory of grotesque art, this paper puts forward the scope of the study of grotesque illustrations, sums up the characteristics of grotesque illustrations, and combs the history of grotesque illustrations. This paper expounds the current situation of grotesque illustrations and sums up the value of grotesque illustrations in combination with its own practice. In the second chapter of this paper, by combing the existing grotesque theory, it is clear that the research field of the grotesque illustrations is the genie illustrations and the illustrations with funny and dangerous and perverse contents. In the third chapter, it combs the history of grotesque illustrations, and makes a comparison between China and the West, and finds that Chinese and Western grotesque illustrations appear in the religious classics in the history. Until the Ming and Qing dynasties in China and the end of the 15th century in the West, the market culture of China rose, the influence of western humanistic thought expanded, and most of the strange illustrations were based on strange novels or grotesque literature. The fourth chapter analyzes the grotesque illustrations in the fantasy literature, the individual grotesque illustrations combined with the commercial illustrations, and the works of the Chinese grotesque illustrators. In modern times, fantasy literature provides creative themes for grotesque illustrations, and the combination of grotesque and individual creativity of illustrator forms a new aesthetic fashion. At the end of the thesis, the author summarizes the artistic value, cultural value and commercial value of the grotesque illustrations by combing the above theory and their own practice of the grotesque illustrations and their commercial applications.
【學(xué)位授予單位】：北京印刷學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J218.5
【參考文獻(xiàn)】
相關(guān)期刊論文 前4條
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本文編號(hào)：2415256
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