从材料功能转变的现象中探究中国当代漆立体艺术

发布时间：2018-07-02 21:17

本文选题：材料 + 漆立体　；参考：《河北师范大学》2012年硕士论文

【摘要】：漆立体艺术也可以说是漆的“雕塑”艺术，漆立体艺术是多元的，其形态是立体的呈现状态，造型既可以抽象又可以具象、材料艺术的表现力丰富。和一般的雕塑艺术作品不同的是，漆立体艺术除了拥有雕塑的形态，还具有明确的本体语言，即“漆语言”。一直以来，由于历史的渊源与“漆”材料的特殊性，根深蒂固的传统漆工艺严重影响着漆立体艺术的当代创作发展，现代艺术家在进行漆立体创作时，往往还被传统漆艺术的“工艺性”遮掩着视野，现当代的作品较多的呈现为工艺性强、造型呆板、面貌单一的状况，材料艺术表现功能性的不足，最终致使漆立体艺术与其他艺术形成了较大差异。雕塑、绘画等艺术早已紧随当代艺术发展，渐行渐远。近几年，漆立体艺术作品逐渐背离传统的影响，越来越多的呈现出语言多样性的表现，漆材料的功能也突破了禁锢，当代漆艺术美的范畴发生了改变。本文结合现状对当代漆立体艺术进行多角度的探索和认识，并以材料由“幕后”到“台前”的功能转变作为研究的出发点，通过研究当代漆立体构成材料的艺术表现，探讨漆立体艺术创作中的动向。从探究材料艺术功能转变的角度出发，论证了需要思维观念的更新，紧随当代艺术发展，才能掌控材料。同时表现了在漆立体创作中拓宽创作领域的重要性。在以后，漆立体艺术的创作应从现代审美趋向着手，以表达观念、情感、创意为导向，摆脱传统束缚，逐渐向着材料工艺单纯化、视觉效果的强烈化方向发展。中国漆立体艺术现状是朦胧的、年轻的，怎样才能紧扣漆立体艺术创作中的发展方向？本文对中国漆立体艺术研究与实践中，结合了当代艺术观念与时代精神，，对漆艺材料语言与表现状况进行分析，找出了一定的创作学习规律，辩证的写出来，以期对漆立体艺术的形成更为深刻和明确的认识。全文共分五个部分。第一部分、概念的界定，在此章中主要辩证的认识漆立体的概念，并了解其大致的特点，为下面的深入研究奠定基础；第二部分、中国当代艺术环境下漆立体艺术现状，从传统漆艺的影响——实验形态下的当代漆立体艺术，通过具体图像作品进行解读，从表现形式语言入手进行探讨，并引出话题铺砖引路；第三部分、材料的艺术语言表现与当代漆立体创作艺术表现探析，此部分从材料的精神性艺术表现进行研究，结合现状研究，对漆立体艺术的发展变化做出理性思考；第四部分、材料在中国当代漆立体艺术中的新表现特征，本段是对论据、论点的整体性分析；第五部分、实践中的应用与论证，主要是通过本文作者的一些实践体会再次论证。最后形成结论，对材料“本体”的表现有效的把握源于创作者的思想意识，对材料“本体”的表现有效把握值得我们再研究的。本文的研究在当代漆立体创作中具有重要价值和现实意义，材料由“幕后”到“台前”的功能转变是当代艺术发展的必然。
[Abstract]:The stereoscopic art of lacquer can also be said to be a "sculpture" art of lacquer. The three-dimensional art of lacquer is multidimensional, its form is a three-dimensional presentation state, the shape can be abstracted and can be figurative, and the expressive force of the material art is rich. In words, "lacquer language".
Because of the historical origin and the particularity of "lacquer" material, the deep-rooted traditional painting technology has seriously affected the development of contemporary creation of the three-dimensional art of paint. In the process of painting three-dimensional painting, modern artists are often obscured by the "craft" of traditional lacquer art. With the inflexible shape, the single appearance of the appearance and the insufficiency of the functional performance of the material art, the three-dimensional art of lacquer and other art has formed a great difference. The art of sculpture, painting and other art has long followed the development of contemporary art and is getting farther and farther.
In recent years, the painting stereoscopic art works gradually deviate from the traditional influence, more and more show the expression of language diversity, the function of the paint material has also broken through the confinement, the category of the beauty of contemporary lacquer art has changed. This article combines the present situation to explore and understand the contemporary art of three-dimensional art, and the material from "behind the curtain" to " As the starting point of the study, the functional transformation of the front is the starting point of the study. Through the study of the artistic expression of the modern paint stereoscopic material, the trend of the painting three-dimensional art creation is discussed. From the angle of exploring the transformation of the material function, the renewal of the thinking concept is demonstrated, and the material is controlled in order to follow the development of contemporary art. At the same time, it is shown in the painting. In the future, the creation of stereoscopic art should begin with the modern aesthetic trend, in order to express ideas, emotions, and creativity oriented, get rid of the traditional shackles, gradually turn to the material process single purification, and develop the strong direction of visual effect.
The present situation of Chinese painting stereoscopic art is hazy and young, how can we keep the direction of development in the three-dimensional art creation of lacquer painting? In this paper, in the study and practice of Chinese paint stereoscopic art, it combines the contemporary art concept and the spirit of the times, analyzes the language and performance of the lacquer art materials, and finds out a certain law of writing and dialectical writing. The full text is divided into five parts. The first part, the definition of the concept, in this chapter, the main dialectical understanding of the concept of stereoscopic painting, and understand its general characteristics, lay the foundation for the following in-depth study; the second part, Chinese contemporary art environment paint stereoscopic art. The present situation, from the influence of traditional lacquer art - the contemporary art of contemporary lacquer in the experimental form, through the specific image works to interpret, from the expression of the form language to discuss, and lead to the topic of the road tile approach; the third part, the artistic expression of the material and Contemporary painting three-dimensional creation of artistic expression analysis, this part from the spirit of the material The study of artistic expression, combined with the status quo research, to make rational thinking about the development and change of the painting stereoscopic art; the fourth part, the material in the Chinese contemporary painting three-dimensional art of the new performance characteristics, this section is the argument, the overall analysis of the argument; the fifth part, practice and demonstration, mainly through some of the author's practice. Experience again.
Finally, the conclusion is that the effective grasp of the performance of the material "noumenon" comes from the ideological consciousness of the creator, and the effective grasp of the expression of the material "ontology" deserves our further study. The study of this paper is of great value and practical significance in the stereoscopic creation of contemporary lacquer, and the functional transformation from "behind the curtain" to "the front" is the present time. The necessity of the development of art.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J527

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