当代版画的创造性初尝与结果分析
[Abstract]:The Chinese creative edition has gone through several stages. To the development of today's prints to enter contemporary art to think. The relationship between contemporary art and contemporary printmaking: as a printmaking, one should expand one's own Noumenon language and enter into the inevitable development direction of contemporary art, that is, printmaking. The position of the artist in the artistic creation should first determine the identity of the creation "what can be brought to us by the artistic creation" and "how to do the real artistic creation". It is precisely because the traditional concept of "the former" has to develop forward, from the ontology language to the new language breakthrough and attempt. On the one hand, it explores and studies the Noumenon language of printmaking in order to understand its own artistic expression. The other is to expand the form of language, and this kind of more and more in the development of today's printmaking has gradually formed a trend and appearance. The importance of material language is recognized by the use of materials. The practical application of the combination of material language and print language. Creative Breakthrough and glamour of Contemporary print the creative breakthrough and charisma of contemporary printmaking are undergoing development and change and find out their own creative ideas combined with their own cognitive degree of learning printmaking. First of all, the technical element of printmaking is a way of expressing the language of printmaking. "how to create one's own prints" is a creative way, but to solve the problem of "how to create printmaking" is the problem of creative consciousness. To truly enter the contemporary context of the work to experience and express. In the whole process of creation through training and experiments to improve the artistic judgment of things and the ability to control the completion of the work. In order to build creative thinking clues and personal ability to improve personal character. Hold your character to a higher level to understand and build your own creative ideology. As a matter of fact, the creative ideology of printmaking is constantly changing with the development. For this stage, I can only take contemporary print as my stage summary. The four parts mentioned in this paper are based on my different thoughts on print in recent years. From history to contemporary, Noumenon to connotation, from introversion to outreaching, from technology to materials, from change to creation. Thinking starts in different directions, but it all goes back to my thinking about contemporary prints.
【学位授予单位】:天津美术学院
【学位级别】:硕士
【学位授予年份】:2015
【分类号】:J217
【相似文献】
中国期刊全文数据库 前10条
1 陈小文;;在制作中的美国当代版画艺术[J];美术;2010年12期
2 ;捌拾·意大利当代版画作品选[J];湖北美术学院学报;2013年03期
3 广军;对法国当代版画的初步考察[J];美术研究;1987年03期
4 ;’91银川《中国当代版画精品邀请展》作品[J];美术;1992年03期
5 梁越;困境中的尴尬——对中国当代版画的断想[J];美术观察;1996年12期
6 鲁莽;;浅谈中国当代版画中蕴含的美学[J];美术界;2011年04期
7 ;美国当代版画艺术展[J];世界知识画报(艺术视界);2011年01期
8 许家德;漫谈当代版画[J];美与时代;2004年01期
9 张彪;;当代版画的技术性和艺术性[J];美术观察;2005年11期
10 齐凤阁;;重读经典——《承前启后:2006中国当代版画名家邀请展作品集》序[J];美术大观;2007年05期
中国重要会议论文全文数据库 前1条
1 闻松;;当代版画细密画风初探[A];2010青年艺术批评奖获奖论文集[C];2010年
中国重要报纸全文数据库 前5条
1 马良;“当代版画展”梳理30年发展脉络[N];中国文化报;2009年
2 齐柠;当代版画:多元化、公众化[N];中国文化报;2007年
3 张亚萌;当代版画:与中国优秀版画传统接上气场[N];中国艺术报;2009年
4 本报记者 梁婷 实习生 谭智锋;中国气派才是当代版画的精神[N];深圳特区报;2006年
5 记者 邱家和;“东方哲思”又何止当代艺术?[N];上海证券报;2011年
中国硕士学位论文全文数据库 前10条
1 石磊;当代版画的创造性初尝与结果分析[D];天津美术学院;2015年
2 李明;中国当代版画中的中国精神[D];中国美术学院;2008年
3 谭莹;两区木刻对当代版画创作精神的影响[D];四川师范大学;2008年
4 于洋;试论中国当代版画艺术中色彩的象征性语言[D];华中师范大学;2013年
5 胡琦;探析中国当代版画创作过程中的“技”与“道”[D];华中师范大学;2013年
6 杨鹏;综合材料对中国当代版画影响的研究[D];延边大学;2012年
7 张彪;当代版画基本概念的拓宽与文化资源共享[D];天津美术学院;2006年
8 杨U,
本文编号:2417230
本文链接:https://www.wllwen.com/wenyilunwen/huihuayishu/2417230.html