云南本土美术资源对云南绝版木刻版画创作的思考与拓展

发布时间：2018-05-16 14:17

本文选题：绝版木刻 + 云南本土美术　；参考：《云南艺术学院》2014年硕士论文

【摘要】：云南绝版木刻在二十世纪80年代中至90年代中在国际、国内美术界散发着奇异的光芒，其艺术形式的新颖和个性的表达得到了良好的赞誉和追捧。直到今天，云南的绝版木刻在经历了“风情热”、“回归热”、“寻根热”的相继起伏发展之后，在云南绝版木刻创作者们冷静思考之下；在现代版画创作融合多种技术和形式、创作新思想、自我表现及个性的张扬意识逐渐增强之下；个人价值观及审美价值越来越倍受关注的今天，云南绝版木刻也同样面临着抉择，同时云南的绝版木刻也已经开始向多元化发展。本文试图从云南本土美术对云南绝版木刻创作的黄金时期、低谷时期分析原因，探究云南绝版木刻创作在当下版画创作大环境中应如何创新进行实践与思考。文章分三部分进行论述：第一部分：版画创作中本土美术语言资源，主要探讨版画创中的本土美术资源与地域因素的关系从而对版画创作直接和间接的影响。第二部分：云南绝版木刻创作中本土美术资源，主要探讨由于地域文化的不同呈现的云南本土文化也各不相同，版画家对地域文化的选择所呈现的不同表现形式和审美情趣。最后，通过我具体的版画创作实践的分析，对当下非物质文化遗产的缺失，应当加以弘扬并保护与传承优秀民族传统文化，对云南这片美丽、神奇、富饶的土地和优秀的少数民族民间美术在当下的价值与意义进行思考和反思。我以云南民族区域内比较有典型代表的傣族小乘佛教壁画作为本次创作的依托，以绝版木刻的表现手法和残片的艺术形式来展现傣族小乘佛教壁画从而来体现傣族文化的艺术魅力，进一步阐述我的创作思路即立足本土，，在传统文化基础注入当代人文精神才能提升创作者的审美和情感的抒发，云南的绝版木刻创作在本土文化的熏陶下更具有创作的自信心和爆发力。
[Abstract]:Yunnan out-of-print woodcut in the mid-1980s to the mid-1990s in the international, the domestic art community is emitting a strange light, its artistic form of novel and personality expression has been good praise and pursuit. To this day, Yunnan's out-of-print woodcarving has experienced the ups and downs of "amorous feelings", "regression fever" and "root-seeking fever", under the calm consideration of Yunnan out-of-print woodcut creators; With the integration of various techniques and forms in modern printmaking, the awareness of new ideas, self-expression and individuality is gradually enhanced. Today, personal values and aesthetic values are attracting more and more attention. Yunnan out-of-print woodcut also faces the choice, at the same time Yunnan out-of-print woodcut has also begun to diversified development. This paper attempts to analyze the causes of Yunnan out-of-print woodcut creation in the golden period of Yunnan native art, and to explore how Yunnan out-of-print woodcut creation should be innovated in the present environment of print creation. The article is divided into three parts: The first part: the native art language resources in the print creation, mainly discusses the relationship between the local art resources and the regional factors in the print creation, thus directly and indirectly affects the print creation. The second part: Yunnan out-of-print woodcut creation in the local art resources, mainly because of the different regional culture of Yunnan native culture is different, the printmaker's choice of regional culture presents different forms of expression and aesthetic interest. Finally, through the analysis of my specific printmaking practice, we should carry forward and protect and inherit the excellent traditional culture of the nation, which is beautiful and magical to Yunnan, for the lack of the current intangible cultural heritage. Rich land and excellent folk art of ethnic minorities in the present value and significance of reflection and reflection. I take the Dai Mahayana Buddhist frescoes, which are typical in Yunnan ethnic areas, as the basis for this creation. With the expression technique of out of print woodcut and the art form of fragments to show Dai small Hinayana Buddhist murals to reflect the artistic charm of Dai culture, further expound my creative idea that is, based on the native place. Only by injecting contemporary humanistic spirit into the foundation of traditional culture can the creators' aesthetic and emotional expression be enhanced. Yunnan's out-of-print woodcut creation is more confident and explosive under the influence of local culture.
【学位授予单位】：云南艺术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J217

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