怪诞插图艺术研究
发布时间：2019-01-26 07:23
【摘要】：怪诞插图本身有着悠久的历史，却一直都是作为插图中的一个小角色存在着，直到当今社会的发展，越来越强调审美多元化，怪诞插图为观众提供了审美的又一选择；并且，它作为流行文化的一部分，为商业插图注入了新的血液，怪诞插图才引起人们的注意。本文以凯泽尔的怪诞艺术理论为基础，参考刘法民教授、汤姆森的怪诞艺术理论，提出了怪诞插图艺术研究的范围，归纳了怪诞插图的特征，梳理了怪诞插图历史，阐述了怪诞插图当今现状，结合自身的实践总结了怪诞插图的价值。 首先在本文的第二章，通过对已有怪诞理论的梳理，明确了怪诞插图的研究领域是神怪插图以及带有滑稽感和凶险，内容反常的插图。在第三章梳理了怪诞插图的历史，并进行了中西对比，发现中西怪诞插图在历史中多出现在宗教典籍当中；直到中国的明清时期和西方15世纪末之后，，中国市井文化兴起，西方人文思想影响力扩大，怪诞插图多以志怪小说或怪诞文学为土壤。第四章则是通过实例分析了奇幻文学中的怪诞插图、与商业插图结合的个性怪诞插图、中国怪诞插图画家作品。在现代，奇幻文学给怪诞插图提供了创作题材，而怪诞和插图画家的个体创造性相结合，形成一种新的审美风尚。在论文的最后，通过上文理论梳理以及自身对怪诞插图及其商业应用的实践，总结了怪诞插图的艺术价值、文化价值以及商业价值。
[Abstract]:The grotesque illustration itself has a long history, but has always existed as a small role in the illustration, until the development of the society, more and more emphasis on aesthetic diversity, strange illustrations for the audience to provide another aesthetic choice; Moreover, as part of pop culture, it infuses new blood into commercial illustrations, and grotesque illustrations attract people's attention. Based on Keizer's theory of grotesque art, referring to Professor Liu Famin and Thomson's theory of grotesque art, this paper puts forward the scope of the study of grotesque illustrations, sums up the characteristics of grotesque illustrations, and combs the history of grotesque illustrations. This paper expounds the current situation of grotesque illustrations and sums up the value of grotesque illustrations in combination with its own practice. In the second chapter of this paper, by combing the existing grotesque theory, it is clear that the research field of the grotesque illustrations is the genie illustrations and the illustrations with funny and dangerous and perverse contents. In the third chapter, it combs the history of grotesque illustrations, and makes a comparison between China and the West, and finds that Chinese and Western grotesque illustrations appear in the religious classics in the history. Until the Ming and Qing dynasties in China and the end of the 15th century in the West, the market culture of China rose, the influence of western humanistic thought expanded, and most of the strange illustrations were based on strange novels or grotesque literature. The fourth chapter analyzes the grotesque illustrations in the fantasy literature, the individual grotesque illustrations combined with the commercial illustrations, and the works of the Chinese grotesque illustrators. In modern times, fantasy literature provides creative themes for grotesque illustrations, and the combination of grotesque and individual creativity of illustrator forms a new aesthetic fashion. At the end of the thesis, the author summarizes the artistic value, cultural value and commercial value of the grotesque illustrations by combing the above theory and their own practice of the grotesque illustrations and their commercial applications.
【学位授予单位】：北京印刷学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J218.5
本文编号：2415256
[Abstract]:The grotesque illustration itself has a long history, but has always existed as a small role in the illustration, until the development of the society, more and more emphasis on aesthetic diversity, strange illustrations for the audience to provide another aesthetic choice; Moreover, as part of pop culture, it infuses new blood into commercial illustrations, and grotesque illustrations attract people's attention. Based on Keizer's theory of grotesque art, referring to Professor Liu Famin and Thomson's theory of grotesque art, this paper puts forward the scope of the study of grotesque illustrations, sums up the characteristics of grotesque illustrations, and combs the history of grotesque illustrations. This paper expounds the current situation of grotesque illustrations and sums up the value of grotesque illustrations in combination with its own practice. In the second chapter of this paper, by combing the existing grotesque theory, it is clear that the research field of the grotesque illustrations is the genie illustrations and the illustrations with funny and dangerous and perverse contents. In the third chapter, it combs the history of grotesque illustrations, and makes a comparison between China and the West, and finds that Chinese and Western grotesque illustrations appear in the religious classics in the history. Until the Ming and Qing dynasties in China and the end of the 15th century in the West, the market culture of China rose, the influence of western humanistic thought expanded, and most of the strange illustrations were based on strange novels or grotesque literature. The fourth chapter analyzes the grotesque illustrations in the fantasy literature, the individual grotesque illustrations combined with the commercial illustrations, and the works of the Chinese grotesque illustrators. In modern times, fantasy literature provides creative themes for grotesque illustrations, and the combination of grotesque and individual creativity of illustrator forms a new aesthetic fashion. At the end of the thesis, the author summarizes the artistic value, cultural value and commercial value of the grotesque illustrations by combing the above theory and their own practice of the grotesque illustrations and their commercial applications.
【学位授予单位】：北京印刷学院
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J218.5
【参考文献】
相关期刊论文 前4条
1 刘法民;;怪诞的演变形态[J];江西教育学院学报;2009年05期
2 刘法民,谭思健;怪诞价值论纲[J];洛阳大学学报;2003年01期
3 刘福智;连超锋;;怪诞美浅说[J];河南工程学院学报(社会科学版);2010年04期
4 韩振江;;“我恐惧故我在”——沃尔夫冈·凯泽尔的“怪诞”理论[J];湛江师范学院学报;2007年04期
本文编号：2415256
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