探析中国当代版画创作过程中的“技”与“道”
发布时间：2018-08-05 18:12
【摘要】：纵观中国艺术史,无论是古代绘画还是当代绘画,只要是谈论作为视觉艺术的绘画形式,最终还是需要我们具体落实到绘画的语言上。从上个世纪八十年代至今,在历经了二十多年的发展与成长的中国当代版画当中,我们可以深刻的感受到其语言的多元化与艺术的自律性。从这期间的版画创作当中我们不难看出版画创作过程中“技”与“道”的博弈已变得日趋激烈。在中国的传统绘画当中“技”与“道”是一对进行着相对运动的概念,它们可以被分开来理解,却又不能被完全的割裂。“道”是中国传统文化和哲学的思想核心,它在中国的文化史和哲学史上生生不息,它对中国艺术发展的影响广泛而深刻。而“技”在中国的传统绘画当中是伴随着画家与赏画人对于“道”的审美眼光的不断发展而日趋成熟。再者,“技”与“道”是相辅相成的,“道”的不断发展,促成了“技”的逐步成熟,而“技”的逐渐成熟又推动了“道”的不断演变,这二者从哲学的角度看是辩证统一的关系。并且,诸多的版画创作实例也可以让我们清晰的了解到：在当今这样一个被多元化思潮充斥着的环境之下,中国当代版画创作过程中的创作思想、创作媒材、审美情趣、观察方法、评价标准等仍然受到传统“技”、“道”观的深刻影响。那么,要想对中国当代版画创作过程当中“技”与“道”的高低、优劣做出一个客观且可信的衡量,还需要我们对“技”与“道”的关系有一个明确的梳理和正确的理解。 笔者试图对诸多实例的剖析来说明中国当代版画创作过程中“技”与“道”的关系,并力图让读者清楚的认识中国当下版画创作过程中“技”与“道”的运用与呈现。这涉及到中国人民对中国传统文化的继承与吸收,更涉及到新一代艺术家对于中国优良传统文化的传承等问题。通过一系列的分析,最后得出：关于“技”和“道”的关系当中,“技”是“道”的物质基础,“道”是“技”的最终目标,只有基础与本体目标相结合才能让艺术创作达到最完美的境界。
[Abstract]:Throughout the history of Chinese art, whether ancient painting or contemporary painting, as long as we talk about the form of painting as visual art, we still need to implement the language of painting. From the eighties of the last century to now, after more than 20 years of development and growth of Chinese contemporary prints, we can deeply feel the diversity of its language and the self-discipline of art. It is not difficult to see the game between "skill" and "Tao" in the process of printmaking. In Chinese traditional painting, "skill" and "Tao" are two relative concepts which can be understood separately, but not completely separated. Tao is the core of Chinese traditional culture and philosophy. It has a profound and extensive influence on the development of Chinese art because of its continuous existence in the history of Chinese culture and philosophy. In Chinese traditional painting, "technique" is maturing with the development of aesthetic vision of "Tao" by painters and appreciators. Furthermore, "technology" and "Tao" complement each other. The continuous development of "Tao" has contributed to the gradual maturation of "technology", and the gradual maturation of "technology" has promoted the continuous evolution of "Tao". The two are dialectical and unified from a philosophical point of view. Moreover, many examples of printmaking can let us clearly understand that under such an environment full of diversified thoughts, the creative ideas, creative media, and aesthetic interests in the process of Chinese contemporary print creation, Observation methods and evaluation criteria are still deeply influenced by traditional "technique" and "Tao" view. So, if we want to make an objective and credible measure of the quality of "technique" and "Tao" in the process of Chinese contemporary print creation, we also need to have a clear combing and correct understanding of the relationship between "technique" and "Tao". The author tries to explain the relationship between "technique" and "Tao" in the process of Chinese contemporary print creation by analyzing many examples, and tries to make readers understand clearly the application and presentation of "technique" and "Tao" in the process of Chinese contemporary print creation. This involves the inheritance and absorption of Chinese traditional culture by the Chinese people and the inheritance of Chinese fine traditional culture by the new generation of artists. Through a series of analyses, it is concluded that in the relationship between "technology" and "Tao", "technology" is the material basis of "Tao", and "Tao" is the ultimate goal of "technology". Only the combination of the foundation and the Noumenon goal can the artistic creation reach the most perfect state.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J217
本文编号：2166587
[Abstract]:Throughout the history of Chinese art, whether ancient painting or contemporary painting, as long as we talk about the form of painting as visual art, we still need to implement the language of painting. From the eighties of the last century to now, after more than 20 years of development and growth of Chinese contemporary prints, we can deeply feel the diversity of its language and the self-discipline of art. It is not difficult to see the game between "skill" and "Tao" in the process of printmaking. In Chinese traditional painting, "skill" and "Tao" are two relative concepts which can be understood separately, but not completely separated. Tao is the core of Chinese traditional culture and philosophy. It has a profound and extensive influence on the development of Chinese art because of its continuous existence in the history of Chinese culture and philosophy. In Chinese traditional painting, "technique" is maturing with the development of aesthetic vision of "Tao" by painters and appreciators. Furthermore, "technology" and "Tao" complement each other. The continuous development of "Tao" has contributed to the gradual maturation of "technology", and the gradual maturation of "technology" has promoted the continuous evolution of "Tao". The two are dialectical and unified from a philosophical point of view. Moreover, many examples of printmaking can let us clearly understand that under such an environment full of diversified thoughts, the creative ideas, creative media, and aesthetic interests in the process of Chinese contemporary print creation, Observation methods and evaluation criteria are still deeply influenced by traditional "technique" and "Tao" view. So, if we want to make an objective and credible measure of the quality of "technique" and "Tao" in the process of Chinese contemporary print creation, we also need to have a clear combing and correct understanding of the relationship between "technique" and "Tao". The author tries to explain the relationship between "technique" and "Tao" in the process of Chinese contemporary print creation by analyzing many examples, and tries to make readers understand clearly the application and presentation of "technique" and "Tao" in the process of Chinese contemporary print creation. This involves the inheritance and absorption of Chinese traditional culture by the Chinese people and the inheritance of Chinese fine traditional culture by the new generation of artists. Through a series of analyses, it is concluded that in the relationship between "technology" and "Tao", "technology" is the material basis of "Tao", and "Tao" is the ultimate goal of "technology". Only the combination of the foundation and the Noumenon goal can the artistic creation reach the most perfect state.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J217
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