以康宁为代表的当代黑白木刻研究

发布时间：2018-02-16 12:59

本文关键词： 版画黑白木刻当代性康宁　出处：《安徽财经大学》2014年硕士论文　论文类型：学位论文

【摘要】：中国黑白木刻经历了长期的风格变化过程,黑白两色在中国艺术史上多用于国画,以黑白作为主要色彩的中国传统水墨画源于王维发明的“泼墨山水”,黑白作为主要颜色贯穿着中国绘画史。在中国古代水墨画占主导地位的同时,版画也在悄悄滋生着,相对于艺术价值,版画更多地起到了实用性作用,也就像当时的文字,大多还是沟通交流的作用,版画形成一派还是近代的事。由黑白木刻再生演变,到如今的套色木刻,再到各地滋生的各种派别,这些新事物的产生都有它的偶然性和必然性,这也是社会经济发展到一定阶段的需要,并且都多少在艺术发展的道路上起到了很大的作用。伴随着西方思想的融入,传统木刻版画开始被大众忽视,甚至彻底摈弃,在保留中国数千年艺术文化积淀的基础上,融入了新的思想和手法,本文通过对康宁黑白木刻的研究,从康宁的黑白木刻创作内容形式上的变化发掘黑白木刻也可以向当代性发展,旨在表达虽然版画,尤其是木刻版画有其一定的局限性,版画的特性决定了它的局限性,版画虽然有局限性,但是随着人们思想的成熟与开放,它的特殊性决定了它的唯一性和不可替代性版画的施展空间也随之扩大,艺术家把内心的世界通过现实表现传达给观众,让观众感同身受,是版画的最终道路。本文从历史的角度出发阐述,再到对具体人物的作品分析,本文分为六章：第一章,绪论,阐述本文的中心思想。第二章,以黑白木刻为主要研究方向的国内版画。阐述中国黑白木刻的发展沿革和它特殊的语言美。第三章,以康宁为代表的当代黑白木刻研究。通过康宁的艺术手法和作品分析,通过对黑白木刻的艺术语言探究,了解发掘它的当代性和发展前途。第四章,康宁对黑白木刻的观点。阐述康宁的木刻精神,康宁对当代木刻发展的观点。第五章,求同存异——同时代的其他黑白木刻版画家与康宁木刻版画的比较。通过当代其他木刻版画家和康宁的黑白木刻比较,了解当代黑白木刻的道路都是在变革中求发展。第六章,就康宁谈我对当代木刻的观点和认识。由康宁的思想观点引出作者对当代黑白木刻的发展的见解。
[Abstract]:Chinese black and white wood carvings have experienced a long process of style change. Black and white dichroism has been widely used in Chinese traditional painting in the history of Chinese art. The traditional Chinese ink painting with black and white as the main color originates from the "splash-ink landscape" invented by Wang Wei, and black and white, as the main color, runs through the history of Chinese painting. Relative to the value of art, printmaking has played a more practical role, but also like the text at that time, most of the role of communication, printmaking is a school of modern things. From the regeneration and evolution of black-and-white wood carvings to today's colorful wood carvings and to the various factions that breed in various places, these new things all have their chance and inevitability, which is also the need for social and economic development to a certain stage. And more or less in the road to the development of art has played a great role. With the integration of Western thought, the traditional woodcut prints began to be ignored by the public, and even completely abandoned. On the basis of preserving the accumulation of Chinese art and culture for thousands of years, they incorporated new ideas and techniques. Based on the study of Kangning black and white woodcut, this paper explores the changes in the content of Kangning's black-and-white woodcut creation and finds that black-and-white woodcut can also develop to the contemporary, in order to express the limitation of printmaking, especially woodcut. The characteristics of printmaking determine its limitations. Although print has its limitations, but with the maturity and openness of people's thoughts, its particularity determines its uniqueness and the expansion of the space for the application of irreplaceable prints. The artist conveys the inner world to the audience through the realistic expression, lets the audience feel the same feelings, is the final road of the printmaking. This article starts from the historical angle elaboration, and then to the concrete character's work analysis, this article divides into six chapters:. The first chapter, introduction, expounds the central idea of this paper. The second chapter is about the development of black and white woodcut in China and its special language beauty. The third chapter, the contemporary black and white wood carving research represented by Kang Ning. Through the analysis of his art techniques and works, through the exploration of the artistic language of black and white wood carvings, we can find out its contemporary nature and future development. Chapter 4th, Corning's views on black and white woodcut. Expound Corning's spirit of woodcut, Conning's view on contemporary woodcut development. Chapter 5th, seeking common ground while reserving differences-the comparison between other contemporary black-and-white woodcut printmakers and Kangning woodcut printmaking. Through the comparison between other contemporary woodcut printers and Kangning's black-and-white woodcut, we can understand that the road of contemporary black-and-white woodcut is to seek development in the course of reform. In chapter 6th, I talk about Kang Ning's views and cognition on contemporary woodcut. From his ideas, the author's views on the development of contemporary black-and-white woodcut are introduced.
【学位授予单位】：安徽财经大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J217

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