【摘要】：受到改革開放帶來的新美潮運動的影響以及普洱市內(nèi)部存在的一些經(jīng)濟薄弱問題,導(dǎo)致絕版套色木刻出現(xiàn)在了大眾的面前,至今已經(jīng)有25年的歷程。普洱絕版套色木刻是版畫中出現(xiàn)的一種新趨勢,它特有的制作技法和精致的印刷效果擴大了版畫的研究范圍,充分展現(xiàn)出版畫的魅力。絕版套色木刻在制作過程中的簡便,使畫家可以發(fā)揮自己的主觀想象,藝術(shù)家們的個性和創(chuàng)作激情被充分體現(xiàn),情緒和情感的變化被高度重視,也能調(diào)整并且預(yù)見套色木刻的效果,增強套色木刻的藝術(shù)表達。本文對絕版套色木刻的緣起進行介紹,望大眾在日常生活中可以養(yǎng)成認真觀察的習(xí)慣,從而對色彩的敏感程度有所提升,掌握好絕版套色木刻的基礎(chǔ)制作方式,積極實踐,學(xué)會思考并獨自完成絕版套色木刻作品。再以賀昆為代表,對普洱絕版套色木刻進行了分析研究。首先對普洱這個地方進行詳盡的介紹,襯托出普洱絕版套色木刻的發(fā)展是具有充分的先天優(yōu)勢,再對普洱絕版套色木刻的藝術(shù)表現(xiàn)形式進行歸納,分為了四個階段。從形成階段到低迷到成熟最終達到多元化階段,這些階段中起初是一批年輕的藝術(shù)家,在新思維和新的藝術(shù)觀念下發(fā)現(xiàn)了絕版套色木刻技法,同時憑借這種新的發(fā)現(xiàn)在各屆全國性的美展上獲獎,而受到全國乃至全世界的關(guān)注。最后為普洱的版畫闖出了一條道路。這些版畫藝術(shù)家們一直不斷的探索、堅持、獲得肯定和對普洱做出的巨大貢獻是很值得后輩學(xué)習(xí)的。接著從賀昆的創(chuàng)作角度出發(fā),分析了他的風(fēng)格體系,代表作品的幾個重要時期和版畫作品中傳達出來的創(chuàng)新探索精神。最終研究了賀昆絕版套色木刻對當(dāng)代藝術(shù)的影響和對中國版畫界的震撼。賀昆作為普洱絕版套色木刻主要代表畫家之一,他堅持繼承傳統(tǒng)的地域風(fēng)格,吸收外來文化中的表現(xiàn)主義,作品中具有濃郁的普洱當(dāng)?shù)靥厣蛣?chuàng)作的語言表達方式。如今的絕版套色木刻不單單只是普洱的文化還是普洱新傳統(tǒng)的象征,已經(jīng)在普洱的藝術(shù)中埋下了深刻的根基。在新的時代背景下,我們要用嚴謹?shù)膶W(xué)術(shù)態(tài)度去研究普洱絕版套色木刻的發(fā)展過程,分析其中的經(jīng)驗和不足,是后輩們所要思考的方向。
[Abstract]:Influenced by the New American Tide Movement brought by the reform and opening up and some weak economic problems in Pu'er City, the out-of-print woodcut has appeared in front of the public, and it has been 25 years since. Pu'er out-of-print color woodcut is a new trend in printmaking. Its unique production techniques and exquisite printing effect enlarge the scope of research on printmaking and fully show the charm of printmaking. The simplicity of the out-of-print woodcut in the production process enables the artist to display his subjective imagination, the artist's personality and creative passion are fully reflected, and the changes in emotion and emotion are highly valued. Also can adjust and foresee the effect of color wood engraving, enhance the art expression of color wood engraving. This paper introduces the origin of the out-of-print color wood engraving, hoping that the public can form the habit of careful observation in their daily life, so as to improve their sensitivity to color, master the basic production method of the out-of-print overlay wood carving, and actively practice it. Learn to think and complete out-of-print woodcut works alone. Then he Kun as a representative, Pu'er out-of-print set of wood carvings were analyzed and studied. First of all, this place of Pu'er is introduced in detail, setting off the development of Pu'er out-of-print overlay wood engraving is full of innate advantages, and then the artistic expression form of Pu'er out-of-print overlay wood carving is summarized, which is divided into four stages. From the stage of formation to the stage of depression to maturity and finally to the stage of diversification, at the beginning of these stages were a group of young artists who discovered the techniques of out-of-print woodcut under new thinking and new artistic concepts. At the same time, with this new discovery in the national art exhibition awards, and attracted national and even the world's attention. At last, the print of Pu'er blazed a way. These printmaking artists have been exploring, persisting, gaining recognition and making great contributions to Pu'er. Then from the angle of his creation, it analyzes his style system, several important periods of his works and the spirit of innovation and exploration conveyed in his printmaking works. Finally, the paper studies the influence on contemporary art and the shock to Chinese printmaking. He Kun, as one of the main representatives of Pu'er out-of-print woodcut, insists on inheriting the traditional regional style and absorbing the expressionism in foreign culture, and his works have strong local characteristics of Pu'er and language expression mode of creation. Today's out-of-print color woodcut is not only the culture of Pu'er or the symbol of the new tradition of Pu'er, but has laid a deep foundation in the art of Pu'er. Under the background of the new era, we should use rigorous academic attitude to study the development process of Pu'er out-of-print overlay woodcut, and analyze its experience and deficiency, which is the direction to be considered by later generations.
【學(xué)位授予單位】：安徽財經(jīng)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：J217

【相似文獻】

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10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 王華;賀昆為代表的云南普洱絕版套色木刻研究[D];安徽財經(jīng)大學(xué);2016年

5 王臻真;五彩斑斕—套色油印木版畫研究[D];中國美術(shù)學(xué)院;2016年

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

7 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

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

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

10 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：2418128