本文關(guān)鍵詞：當(dāng)代書(shū)刻藝術(shù)芻議　出處：《哈爾濱師范大學(xué)》2015年碩士論文　論文類(lèi)型：學(xué)位論文

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【摘要】：對(duì)于此篇論文的寫(xiě)作是源于我在當(dāng)代書(shū)刻藝術(shù)的創(chuàng)作中的領(lǐng)悟,它是一門(mén)既古老又現(xiàn)代的藝術(shù),既古代文化與現(xiàn)代文化與一身,面對(duì)當(dāng)代書(shū)刻藝術(shù)這門(mén)極具魅力的學(xué)科,我深深地被它熏陶著、感染著,想要長(zhǎng)時(shí)間地繼續(xù)學(xué)習(xí)這門(mén)藝術(shù),并且在當(dāng)代書(shū)刻藝術(shù)這條道路上走的更深更遠(yuǎn),就需要一些與當(dāng)代書(shū)刻藝術(shù)相關(guān)的理論研究來(lái)做后盾,而由于這門(mén)藝術(shù)是一門(mén)新興的藝術(shù),在理論研究方面還不是那么豐富,在詢(xún)問(wèn)了老師的意見(jiàn)之后,我整理一些與當(dāng)代書(shū)刻藝術(shù)有關(guān)的資料,反復(fù)斟酌比較之后,我將目標(biāo)選定在了當(dāng)代書(shū)刻藝術(shù)的傳承與創(chuàng)新上,它獨(dú)有的設(shè)計(jì)與構(gòu)成,以及這門(mén)藝術(shù)的廣博的包容性與創(chuàng)新性等等都給了我很大的啟發(fā)。基于過(guò)去的經(jīng)驗(yàn)與教訓(xùn),讀一本書(shū),我沒(méi)有把太多的文字列表和介紹放在傳統(tǒng)的文字,因?yàn)檫@些都是耳熟能詳?shù)?不想每個(gè)人都有一個(gè)跟在感覺(jué)開(kāi)始同樣的模式,所以我首先在第一章里用少量的文字描述了一下“龍江書(shū)刻”哈爾濱師范大學(xué)實(shí)踐創(chuàng)作基地的成績(jī)與情況,又簡(jiǎn)單地介紹了當(dāng)代書(shū)刻藝術(shù)的內(nèi)涵、起源、產(chǎn)生與發(fā)展,從書(shū)法的章法、字形結(jié)體、線(xiàn)條和色彩四個(gè)方面來(lái)論述古代書(shū)法藝術(shù)對(duì)當(dāng)代書(shū)刻藝術(shù)有及其深厚的影響,讓大家能夠直接明了地認(rèn)識(shí)這門(mén)藝術(shù)。在第二章里談到了當(dāng)代書(shū)刻藝術(shù)的獨(dú)特藝術(shù)魅力,在談到當(dāng)代書(shū)刻藝術(shù)的傳統(tǒng)性時(shí),以李文寶老師的一幅經(jīng)典作品展開(kāi)來(lái)論述,后面又談到了當(dāng)代書(shū)刻藝術(shù)的現(xiàn)代性,這門(mén)藝術(shù)本身就是一門(mén)現(xiàn)代藝術(shù),因此要將傳統(tǒng)性與現(xiàn)代性比較著來(lái)寫(xiě)。后面又用兩個(gè)小章節(jié)寫(xiě)到了當(dāng)代書(shū)刻藝術(shù)的造型思維與殘缺之美。在第三章中介紹的是當(dāng)代書(shū)刻藝術(shù)受設(shè)計(jì)與構(gòu)成藝術(shù)元素的影響,分別從當(dāng)代書(shū)刻藝術(shù)中形式的設(shè)計(jì)、字體線(xiàn)條的設(shè)計(jì)、字體的空間構(gòu)造、色彩的設(shè)計(jì)與構(gòu)成四個(gè)方面闡述了設(shè)計(jì)與構(gòu)成對(duì)當(dāng)代書(shū)刻藝術(shù)的影響。當(dāng)代書(shū)刻藝術(shù)本身就是一門(mén)包容性很強(qiáng)的藝術(shù),它在中國(guó)古代書(shū)法藝術(shù)的基礎(chǔ)上,融篆刻、繪畫(huà)、設(shè)計(jì)、裝潢、造型、色彩等藝術(shù)為一體,由于設(shè)計(jì)與構(gòu)成藝術(shù)的存在,使得這門(mén)藝術(shù)更具有現(xiàn)代性,因此,文章用大量的文字來(lái)介紹設(shè)計(jì)與構(gòu)成對(duì)當(dāng)代書(shū)刻藝術(shù)的影響。在第四章中主要談到了當(dāng)代書(shū)刻藝術(shù)作為一門(mén)新興的藝術(shù),應(yīng)當(dāng)在繼承古代書(shū)法藝術(shù)的基礎(chǔ)上,再進(jìn)行一定的創(chuàng)新,即“借古開(kāi)今,古今并重”,用《象·韻·法·意》這幅作品來(lái)支持文字的論點(diǎn),第五章是本文的最后一個(gè)章節(jié),首先談到了關(guān)于當(dāng)代書(shū)刻藝術(shù),我們應(yīng)該繼承傳統(tǒng),突破創(chuàng)新,又分別介紹了當(dāng)代書(shū)刻藝術(shù)在國(guó)內(nèi)、國(guó)外的發(fā)展趨向,在國(guó)內(nèi),當(dāng)代書(shū)刻藝術(shù)已經(jīng)被列入大學(xué)里的一門(mén)學(xué)科,以此來(lái)證明當(dāng)今社會(huì)對(duì)于當(dāng)代書(shū)刻藝術(shù)的及其重視。最后又用一個(gè)很小的章節(jié)來(lái)介紹了當(dāng)代書(shū)刻藝術(shù)的分支“龍江書(shū)刻”,這門(mén)藝術(shù)具有極強(qiáng)的研究意義與價(jià)值。結(jié)論是這門(mén)新興的藝術(shù)在未來(lái)的發(fā)展道路是光明的。文章中在談到一些優(yōu)秀作品時(shí),對(duì)于每一幅作品都用大量的文字做了介紹,方便大家能更好的欣賞。這篇論文重點(diǎn)在于這門(mén)新興的藝術(shù)的一些理解與感悟,以此來(lái)突破我在創(chuàng)作的時(shí)候遇到的瓶頸,從而提升自己。作為當(dāng)代書(shū)刻藝術(shù)繼承人的我們,在現(xiàn)代化高速發(fā)展的社會(huì)中,面對(duì)眾多的藝術(shù)思想潮流下,我們?cè)撊绾卫^續(xù)在這條道路上繼續(xù)發(fā)展與前進(jìn)?這就要求我們?cè)诶^承傳統(tǒng)書(shū)法藝術(shù)的基礎(chǔ)上,融入姊妹藝術(shù),突破創(chuàng)新,不斷豐富和充實(shí)自己,勤學(xué)苦練,多實(shí)踐,勤奮創(chuàng)作,將這種新的藝術(shù)繼續(xù)傳承下去,當(dāng)代書(shū)刻藝術(shù)的未來(lái)是不可估量的。
[Abstract]:For this essay is engraved art in the contemporary book in my creation of understanding, it is both an ancient and modern art, both ancient culture and modern culture and a body, facing the contemporary book carving art this fascinating subject, I was deeply influenced by the infection it smoked. A long time, want to continue to learn the art of deeper and deeper and in the Contemporary Art Book engraved on the road to go, you need the book engraved and contemporary theoretical research related art behind it, and because of this art is a new art in the theoretical research aspect is not so rich and after asking the teacher's advice, I collect some books about art and contemporary moment data, after repeated comparison, I will target selected in the inheritance and innovation of contemporary carving art, with its unique structure design, and the art of extensive Inclusiveness and innovation, gave me great inspiration. Based on the experience and lesson of the past, read a book, I didn't put too much text on the list and introduce the traditional text, because these are not for having heard it many times, want everyone to have a follow the same pattern began to feel in the first chapter, I use a small amount of text describing the "Longjiang Book engraved" achievements and creative practice base of Harbin Normal University, and briefly introduces the connotation of contemporary book carving art origin, production and development, from the calligraphy art, body shape structure, four aspects to discuss the lines and colors the ancient art of calligraphy on contemporary art carvings and profound influence, so that we can directly and clearly understanding the art. In the second chapter talked about the contemporary book carving art unique artistic charm, on contemporary carving art book biography The system, with a classic Li Wenbao teacher started to discuss, behind also talked about the modernity of contemporary book carving art, the art itself is a modern art, so you want to write a comparison of traditional and modern. The back with two small chapters as the moment when doing art the style of thinking and the incomplete beauty. Introduced in the third chapter is the contemporary book carving art influenced by design and constitute elements of art, carved art design form from the contemporary book design, fonts and lines, space structure of the font, the influence of design and structure of the contemporary book engraving art paper color design and constitute four aspects. Contemporary book carving art itself is a very inclusive art, it is based on Chinese ancient art of calligraphy, painting, carving and thawing, design, decoration, style, color, art as a whole, due to the design and art form With the existence of the art is more modern, therefore, a number of words to introduce the influence of design and structure of contemporary carving art book. In the fourth chapter is mainly about the contemporary book carving art as a new art, should be based on inheriting the ancient art of calligraphy, and then some the innovation, namely "the ancient open today, both ancient and modern, to support the text with" like - rhyme - Law > meaning of this painting argument, the fifth chapter is the last chapter of this article, first talked about the contemporary book carving art, we should inherit the tradition, breakthrough innovation, it introduces the contemporary the book carving art in China, the trend of development at home and abroad, the contemporary book carving art has been included in a discipline in the University, in order to prove that in today's society for the attention of the contemporary book carving art and. Then use a small section to the "The Longjiang branch of scrivener engraved art carvings, this art has strong research significance and value. The conclusion is that art is bright in the future development of the road. When it comes to some excellent works in the article, for each piece of work with a large number of text introduced, appreciation facilitate better. This thesis focuses on some understanding of this emerging art, in order to break the bottleneck I met at the time of creation, so as to enhance themselves. As a contemporary book carving art inheritance of our people, high speed development in the modern society, in the face of numerous art ideological trend. How can we continue to develop and progress in this way? It requires us to inherit the tradition of calligraphy art, into the art, breakthrough innovation, continuously enrich themselves, qinxuekulian, practice, Qin The future of the art of contemporary calligraphy is immeasurable.

【學(xué)位授予單位】：哈爾濱師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：J292

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