藏汉木刻版画对比研究

发布时间：2018-03-21 14:11

本文选题：木刻版画　切入点：藏汉版画　出处：《西藏大学》2016年硕士论文　论文类型：学位论文

【摘要】：木刻版画起源于中国,要真正了解中国木刻版画,就要了解不同民族的版画历史,通过对比不同民族同时期的政治、宗教,更加深刻详细的了解中国木刻版画的发展渊源,以及传统木刻版画在当代木刻版画中的体现。藏地木刻版画与汉地木刻版画可以说是中国木刻版画艺术的典型代表,它们之间既有区别又有联系。至今为止,发现最早的木刻版画源自唐朝,本文主要从唐朝开始将藏汉木刻版画进行对比分析,而且它们都经历了从唐代到清代的萌芽、发展、成熟的过程,也都逐步从“传统复制性木刻版画”到“现代创作性木刻版画”,但由于它们民族不同,信仰不同,所经历的政治文化不同,造就了两种完全不同风格的木刻版画艺术。因此,进行藏汉木刻版画研究,有利于促进中国木刻版画的发展及民族文化之间的交流。近现代以来,对于藏地木刻版画研究或汉地木刻版画研究,已有学者涉及,但将两者进行系统对比的较为零星。本文是在前人研究的基础上,试图从背景、类别、艺术价值这三大块进行对比分析,以此清晰的展现藏汉木刻版画的发展渊源及当代藏汉木刻版画的现状。全文分为三个部分,即绪论、正文、结论。正文部分三章进行。第一部分,从政治、宗教两方面进行分析比较。分析比较了藏汉两民族的政治状况、美术史的发展状况以及以宗教为题材的木刻版画作品状况。第二部分,从藏汉木刻版画类别进行分析比较。藏地木刻版画分为传统木刻复制版画与现代创作木刻版画;汉地木刻版画分为黑白木刻、套色木刻、木口木刻。第三部分,从艺术价值进行分析比较。即物质材料、技法、艺术市场三大块进行比较。
[Abstract]:Woodcut prints originated in China. In order to truly understand Chinese woodcut prints, it is necessary to understand the history of prints of different nationalities. By comparing the politics and religions of different ethnic groups at the same time, we should have a deeper and more detailed understanding of the origin of the development of Chinese woodcut prints. And the embodiment of traditional woodcut printmaking in contemporary woodcut printmaking. Tibetan woodcut engraving and Han woodcut engraving can be said to be typical representatives of Chinese woodcut art. There are differences and connections between them. So far, Found that the earliest woodcut prints originated from the Tang Dynasty, this paper mainly from the Tang Dynasty to the Tibetan and Han woodcut prints for comparative analysis, and they have experienced from the Tang Dynasty to the Qing Dynasty germination, development, mature process, They are also gradually changing from "traditional copying woodcut prints" to "modern creative woodcut prints", but because of their different nationalities, different beliefs and different political cultures, they have created two completely different styles of woodcut printmaking art. The study of woodcut prints in Tibetan and Han dynasties is conducive to promoting the development of woodcut prints in China and the exchange of national cultures. In recent and modern times, scholars have been involved in the study of woodcut prints in Tibet or in woodcut prints in Han Dynasty. On the basis of previous studies, this paper tries to make a comparative analysis from the background, category and artistic value. The whole paper is divided into three parts: introduction, text, conclusion. The first part, from politics, is to show the origin of Tibetan and Han woodcut engraving and the present situation of contemporary Tibetan and Han woodcut engraving. The two aspects of religion are analyzed and compared. The political situation of Tibetan and Han nationalities, the development of art history and the status of woodcut prints with religious themes are analyzed and compared. The second part, This paper analyzes and compares the types of woodcut prints in Tibetan and Han dynasties. Woodcut prints in Tibet are divided into traditional woodcut reproduction and modern woodcut printmaking; Han woodcut prints are divided into black and white woodcut, tinted woodcut, woodcut woodcut. The third part, Analysis and comparison from the artistic value, that is, material materials, techniques, art market for comparison.
【学位授予单位】：西藏大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：J217

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