皮影元素在雕塑创作中的运用

发布时间：2018-05-06 21:40

本文选题：雕塑 + 皮影　；参考：《四川美术学院》2017年硕士论文

【摘要】：雕塑发轫于旧石器时代,是人类社会最为古老的艺术形式,最初仅用于宗教活动。由于其具体和直接的艺术特征更容易被人感知和理解,雕塑逐渐扩展到装饰环境、记录事件、表达情感等领域。站在文化承载的高度看,不同时期、不同地域和不同文明的雕塑艺术品无疑构成了一部象形人类史。随着人类社会不断发展,雕塑艺术也不断演进,尤其是当代以来,雕塑艺术呈现出越来越抽象和多元的发展趋势。美国艺术评论家丹托提出“艺术界”这一概念时讲到:“80年代艺术的样式革命已经基本结束,艺术的问题不再是作品问题而是语境问题。”雕塑正不断打破媒介的局限而成为一种话语方式。对于当代雕塑,最重要的是应用场景中话语的指向性,这也是它与传统雕塑的根本区别。皮影戏,也称皮影,是中国传统的民间表演艺术。关于皮影的记载最早见于两汉,其剧本设置、演出技巧和影偶造型等方面极富民族特色。作为平面艺术形式,皮影通过造型、雕镂和配色来表达丰富的立体世界,是视觉传达艺术领域的一朵奇葩。然而,受限于口口相传的传承方式、繁琐复杂的影偶制作,以及现代表演艺术(电影、动画等)快速发展带来的冲击,皮影的受众正不断减少,这一古老艺术形式面临着后继乏人、日趋式微的尴尬境地。本文认为,皮影这一传统艺术形式的表达方式对当代雕塑有较好的借鉴意义,将皮影造型元素引入雕塑作品能够产生出色的表现效果。因此,本文从造型艺术的角度观察皮影,充分借鉴其造型和配色技巧,尤其关注透光材质在话语表达中的独特作用。文章以“融合与重生”的理念指导创作,对皮影的造型艺术元素加以抽象,借助当代工艺使之与当代雕塑艺术相融合,借此达成传统艺术元素在当代艺术语境下的重生,也完成语境的构建和话语的表述。本着这一目的,本文共分四个部分。第一部分:论述本文的研究源起和理论背景,结合雕塑与皮影主题相关的理论研究成果和艺术创作现状,提出本文的研究目的和意义。第二部分:分别论述雕塑艺术和皮影艺术的审美特征,从造型艺术的角度寻找这两种艺术形式的相通之处并探讨可能的结合方式。第三部分:结合创作实践探究雕塑作品中的皮影元素应用,重点关注当代雕塑领域与本研究相关的成就和艺术作品,对现有作品做深入的分析和解构,了解皮影元素在雕塑创作中的运用情况,为自身艺术创作寻找具体思路。第四部分:结合前述理论分析和艺术成果,以自己的创作作品为核心,通过创作理念及过程的描述,立体化展示皮影元素在雕塑作品中运用。
[Abstract]:Born in the Paleolithic Age, sculpture is the oldest form of art in human society, originally used only for religious activities. Because its specific and direct artistic features are more easily perceived and understood, sculpture gradually extends to decorative environment, recording events, expressing emotion and other fields. From the perspective of culture, sculptural works of art in different periods, regions and civilizations undoubtedly constitute a pictographic human history. With the continuous development of human society, sculpture art is also evolving, especially in the contemporary times, sculpture art presents a more and more abstract and pluralistic development trend. When Danto, an American art critic, put forward the concept of "art circle", he said: "the style revolution of art in the 1980s has basically ended, and the problem of art is no longer a question of work but a question of context." Sculpture is constantly breaking the limitations of the media and become a way of discourse. For contemporary sculpture, the most important thing is the directionality of discourse in the application scene, which is the fundamental difference between it and traditional sculpture. Shadow play, also known as shadow play, is a traditional Chinese folk performing art. The record of shadow images was first seen in the Han Dynasty, its script settings, performance techniques and silhouette modeling are extremely national characteristics. As a graphic art form, shadow images express rich three-dimensional world through modeling, engraving and color matching, which is a wonderful flower in the field of visual communication art. However, due to the impact of the transmission of word of mouth, the complicated production of silhouette, and the rapid development of modern performing arts (movies, animation, etc.), the audience of shadow images is dwindling. This ancient art form is faced with an awkward situation of the lack of successors. This paper holds that the expression of shadow shadow as a traditional art form has a good reference significance for contemporary sculpture, and the introduction of shadow modeling elements into sculpture works can produce excellent performance effect. Therefore, from the perspective of plastic arts, this paper observes the shadow, and fully draws lessons from its modeling and color matching skills, especially pays attention to the unique role of transparent materials in discourse expression. Under the guidance of the idea of "fusion and rebirth", the article abstracts the plastic art elements of shadow images, and combines them with contemporary sculpture art with the aid of contemporary craft, thereby achieving the rebirth of traditional artistic elements in the context of contemporary art. It also completes the construction of context and the expression of discourse. For this purpose, this paper is divided into four parts. The first part discusses the origin and theoretical background of this paper, combined with the theoretical research results of sculpture and shadow theme and the present situation of art creation, and puts forward the purpose and significance of this paper. The second part discusses the aesthetic characteristics of sculpture art and shadow art, from the point of view of plastic arts to find the similarities between the two forms of art and explore the possible way of combination. The third part: combined with creative practice to explore the application of shadow elements in sculpture works, focusing on contemporary sculpture related to the achievements and works of art, to do in-depth analysis and deconstruction of existing works, To find out the application of shadow elements in sculpture creation and to find concrete ideas for their own artistic creation. The fourth part: combined with the above theoretical analysis and artistic achievements, with their own creative works as the core, through the creative concept and process of description, three-dimensional display of shadow elements in the use of sculpture works.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J304

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