论中国明代木刻版画中的线“象”

发布时间：2018-05-23 14:01

本文选题：传统版画 + 象外之象　；参考：《河北师范大学》2013年硕士论文

【摘要】：中国艺术进入21世纪以来，受到西方艺术的影响颇深，“求新”、“求异”的艺术思潮成为艺术家追求的目标。当今时代的版画艺术，语言形式的丰富多姿，材料媒介的开拓探索，它的发展已处于时代的风口浪尖上。它从形式、媒介和材料到本体语言的探索都让人应接不暇，丰富多姿。这种现状既让人兴奋，同时也令人深思。这种深思引发了人们对传统版画的关注，应该如何对待传统版画和激活传统版画艺术资源，使其在当代发展过程中转化成一种前进的现实力量成为众艺术家所关心的内容。从“线”的源头上对明代时期的传统木刻版画的再研究，而以线造型，来源于世界整个文明的发展，更是中国古代文明的突出特点。使当代人认识理解中国传统版画的用线蕴含的文化意蕴，为版画艺术创作者正确对待中国传统版画提供有力的理论支点。目前只是有很多文献记录着不同时期的版画发展历程，没有从中国绘画用线的角度，结合中国传统文化中哲学与美学的影响，进一步明确中国传统版画中灵魂的源头就在于线。本课题研究传统艺术资源中传统版画的“线条”，是要从传统版画和传统绘画的关系以及线的运用中得出一定的结论，理解线条呈象以及以线传情以线达意的精神意义。虽然传统版画在这几个时期都有自己的特点，但个人认为，要想深入研究一种事物，必定会选择这个事物发展到最鼎盛的时期为焦点，，在这个时期也是事物发展到达的成熟期，能体现出最具有特点和特性的一面，才有更强的说服力。我们通过研究对传统版画发展过程进行梳理明确了中国传统版画的繁盛时期正是出现辉煌成就与发展的明代，并远远超过其他时期。从中国绘画中的线表达开始研究，分析明代线的文化内涵以及陈洪绶注入版画的新鲜血液，挖掘与中国绘画一脉相承的中传统版画在中国传统文化深入影响下的线“象”表达。对“线”的探本求源，得到线条作为中国绘画独立艺术语言对人文情怀的重视，使现代人们在各种外来版画艺术思潮的冲击下正确认识传统版画的艺术资源，并把线作为传统版画中的灵魂融入其中，转化成一种追求自由纯洁的内在精神的力量。中国传统木刻版画的价值是不可忽视的，认识理解中国传统版画用线的文化意蕴更为重要。总之，艺术的目的是为了追求最纯洁的精神快乐而不是实用。艺术家不断丰富自己的精神世界，同时也提升了自己的生活品味，深入研究中国传统木刻版画用线的意义与价值体现于此。我们回头再看一些优秀的传统版画时，从艺术的审美角度研究，其中的文化密码不言而喻。
[Abstract]:Since Chinese art entered the 21st century, it has been deeply influenced by western art. The artistic trend of "seeking novelty" and "seeking difference" has become the goal pursued by artists. Nowadays, the art of print, the rich and colorful language forms, the exploration of material media, its development has been on the cusp of the times. From form, medium and material to the exploration of ontology language, it is full of richness and variety. This state of affairs is both exciting and thought-provoking. This kind of deep thinking has aroused people's attention to the traditional printmaking, how to treat the traditional printmaking and how to activate the traditional printmaking art resources, so that it can be transformed into a kind of advancing realistic force in the contemporary development process and become the concern of many artists. From the source of "line", the restudy of the traditional woodcut prints in Ming Dynasty, and the line modeling, from the development of the whole civilization of the world, is the outstanding characteristic of the ancient Chinese civilization. In order to make the contemporary people understand the cultural implication contained in the line of Chinese traditional prints, it provides a powerful theoretical fulcrum for the creators of print art to treat Chinese traditional prints correctly. At present, there are only a lot of documents recording the development of different periods of printmaking, not from the point of view of the line of Chinese painting, combined with the influence of philosophy and aesthetics in Chinese traditional culture, to further clarify that the source of the soul in Chinese traditional print is the line. The purpose of this paper is to draw a certain conclusion from the relationship between traditional print and traditional painting and the application of line, and to understand the spiritual significance of line showing image and conveying emotion through line. Although the traditional printmaking has its own characteristics in these several periods, I think that in order to study something in depth, we must choose the period when it develops to its highest prosperity, which is also the mature period for the development of things. Can reflect the most characteristic and characteristic side, have stronger persuasion. Through the study of the development of traditional printmaking, we have made it clear that the prosperous period of Chinese traditional print was the Ming Dynasty with brilliant achievements and development, and far exceeded the other periods. Starting with the line expression in Chinese painting, this paper analyzes the cultural connotation of the line in Ming Dynasty and the fresh blood injected by Chen Hongshou into the print, and excavates the line "image" expression of the Chinese traditional printmaking which is closely related to the Chinese painting under the deep influence of the Chinese traditional culture. This paper explores the origin of "line", obtains the importance of line as the independent artistic language of Chinese painting to the humanistic feelings, so that modern people can correctly understand the artistic resources of traditional printmaking under the impact of various kinds of foreign printmaking art thoughts. And the line as the soul of the traditional printmaking into it, into a pursuit of freedom and purity of the inner spirit of strength. The value of Chinese traditional woodcut prints can not be ignored. It is more important to understand the cultural implication of Chinese traditional woodcut prints. In short, the purpose of art is to pursue the purest spiritual happiness rather than practical. Artists constantly enrich their spiritual world, but also improve their own life taste, in-depth study of Chinese traditional woodcut print line significance and value reflected in this. We look back at some excellent traditional prints, from the aesthetic point of view, the cultural code is self-evident.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J217

【参考文献】