在实践中体会纪念性雕塑-兼论《漠北》纪念性雕塑创作
发布时间：2018-07-25 12:46
【摘要】：本文分为三章,下面分章节介绍成文的过程与思路。首先,第一章是关于纪念性雕塑的简要论述。在这一章中主要是通过叙述纪念性雕塑的特点、分类及影响纪念性雕塑的因素及意义等三方面,来说明纪念性雕塑的概念、它的形成和基本的发展过程。从而让读者对纪念性雕塑有一个整体粗略的认识。第一节讲述纪念性雕塑的特点,纪念性雕塑的特点之一是以强烈的雕塑空间布局来表现所要纪念的人物或事件,并安放于建筑或综合性的纪念空间之中(室外或室内)。其次,纪念性雕塑多采用适宜长久保存而不易损毁的材料。第三,纪念性雕塑需要和特定的空间相联系、相融合。第二节介绍了纪念性雕塑的题材分为三类:一类是纪念历史事件;一类是纪念历史人物;一类是纪念民族情怀及信仰与神话。第三节主要从功能性、文化、时代背景三个方面入手,说明了这三个因素是如何影响纪念性雕塑的。第二章中主要介绍纪念性雕塑的简洁化处理与象征意味。本章分为三节,第一节从象征手法与艺术符号的关系,以及在大众审美中的作用为切入点,讲述了其在艺术作品中的重要性、它的特点及发展过程。第二节浅析了简洁化处理与象征手法在纪念性雕塑中的应用。从古埃及纪念性雕塑、古希腊纪念性雕塑、中国当代纪念性雕塑等为例,体现了象征意味在雕塑中的广泛运用。在第三节,论文以吴为山的南京大屠杀遇难同胞纪念雕塑《家破人亡》为例,详细论述了这件作品的象征性意义及其作品中对于雕塑语言符号化的处理。这一节将纪念性雕塑和象征的使用相结合,在赏析《家破人亡》的同时,也启发自己的创作实践,从而推动对于突破点和灵感的寻找与探索。第三章主要论述自己的毕业创作《漠北》系列纪念性雕塑的创作始末。本章分为两节,首先,陈述了主题的缘起和灵感来源。描述了在创作中是如何运用象征的符.号语言和简洁的表现手法,来表达自己的情感。对于《漠北》系列来讲,所传达的已不再是直接的、具有民族特色的、象征的图案。单纯的艺术符号也许代表了一个地域、一个民族、一个信仰……,也可以很直观的解释这些内容。但它不能充分地浓缩作者的情感与观念。艺术作品中更需要属于自己、可以充分地解释作品、概括情感的艺术符号。它也许是一种轮廓;也许是眼睛的巧妙刻画;也许是无意间流露的肌理呈现。但它一定是烙印一样深入人心,这类象征性的符号不可以是任意为之的,而是需要涵盖多重情感;需要从感性出发把主观的认识归纳成理性的语言。在最后一节中,讲述了在实际操作过程中遇到的问题,以及所采用的解决方案。这一部分的创作和思考,展现了主观和客观世界的联系、把抽象的思维和感受具体化的过程。
[Abstract]:This article is divided into three chapters, the following chapters introduce the written process and ideas. First, the first chapter is about the memorial sculpture brief discussion. In this chapter, the concept of memorial sculpture, its formation and basic development process are explained by describing the characteristics, classification, factors and significance of memorial sculpture. So that readers have a rough understanding of the memorial sculpture as a whole. The first section describes the characteristics of commemorative sculpture, one of the characteristics of commemorative sculpture is to use a strong sculpture space to express the character or event to be commemorated, and placed in the building or comprehensive memorial space (outdoor or indoor). Secondly, memorial sculpture more suitable for long-term preservation and not easy to damage the material. Third, memorial sculpture needs to be associated with a specific space. The second section introduces the theme of commemorative sculpture is divided into three categories: one is to commemorate historical events; one is to commemorate historical figures; one is to commemorate national feelings and beliefs and myths. The third section mainly from the function, the culture, the time background three aspects, explained these three factors is how to influence the memorial sculpture. The second chapter mainly introduces the simplified treatment and symbolic meaning of memorial sculpture. This chapter is divided into three sections. The first section describes its importance in art works, its characteristics and development process from the relationship between symbolism and artistic symbols, as well as its role in popular aesthetics. The second section analyzes the application of conciseness and symbolism in commemorative sculpture. Taking the ancient Egyptian monumental sculpture, ancient Greek commemorative sculpture and Chinese contemporary monumental sculpture as examples, symbolism is widely used in sculpture. In the third section, taking Wu Weishan's Nanjing Massacre as an example, the paper discusses in detail the symbolic significance of this work and the treatment of symbolization of sculpture language. This section combines the use of monumental sculpture and symbolism, while appreciating "family breaking apart", it also enlightens one's own creative practice, thus promoting the search and exploration for breakthrough points and inspiration. The third chapter mainly discusses the creation of his graduation creation, A series of commemorative sculptures. This chapter is divided into two sections. First, it describes the origin and inspiration of the theme. Describes how to use the symbol in the creation of the symbol. Number language and simple expression, to express their feelings. For the Mobei series, the message is no longer direct, national, symbolic. Simple artistic symbols may represent a region, a nation, a faith, or they can be explained intuitively. However, it does not sufficiently condense the feelings and ideas of the author. Art works more need to belong to their own, can fully explain the works, generalize the artistic symbols of emotion. It may be a silhouette; it may be a clever portrayal of the eye; it may be an inadvertent presentation of texture. But it must be deeply rooted in the people's heart, such symbolic symbols can not be arbitrary, but need to cover multiple emotions; we need to start from the perceptual subjective knowledge into rational language. In the last section, the problems encountered in practical operation and the solutions adopted are described. This part of the creation and thinking, showing the subjective and objective world, abstract thinking and feelings concrete process.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J305
，
本文编号：2143874
[Abstract]:This article is divided into three chapters, the following chapters introduce the written process and ideas. First, the first chapter is about the memorial sculpture brief discussion. In this chapter, the concept of memorial sculpture, its formation and basic development process are explained by describing the characteristics, classification, factors and significance of memorial sculpture. So that readers have a rough understanding of the memorial sculpture as a whole. The first section describes the characteristics of commemorative sculpture, one of the characteristics of commemorative sculpture is to use a strong sculpture space to express the character or event to be commemorated, and placed in the building or comprehensive memorial space (outdoor or indoor). Secondly, memorial sculpture more suitable for long-term preservation and not easy to damage the material. Third, memorial sculpture needs to be associated with a specific space. The second section introduces the theme of commemorative sculpture is divided into three categories: one is to commemorate historical events; one is to commemorate historical figures; one is to commemorate national feelings and beliefs and myths. The third section mainly from the function, the culture, the time background three aspects, explained these three factors is how to influence the memorial sculpture. The second chapter mainly introduces the simplified treatment and symbolic meaning of memorial sculpture. This chapter is divided into three sections. The first section describes its importance in art works, its characteristics and development process from the relationship between symbolism and artistic symbols, as well as its role in popular aesthetics. The second section analyzes the application of conciseness and symbolism in commemorative sculpture. Taking the ancient Egyptian monumental sculpture, ancient Greek commemorative sculpture and Chinese contemporary monumental sculpture as examples, symbolism is widely used in sculpture. In the third section, taking Wu Weishan's Nanjing Massacre as an example, the paper discusses in detail the symbolic significance of this work and the treatment of symbolization of sculpture language. This section combines the use of monumental sculpture and symbolism, while appreciating "family breaking apart", it also enlightens one's own creative practice, thus promoting the search and exploration for breakthrough points and inspiration. The third chapter mainly discusses the creation of his graduation creation, A series of commemorative sculptures. This chapter is divided into two sections. First, it describes the origin and inspiration of the theme. Describes how to use the symbol in the creation of the symbol. Number language and simple expression, to express their feelings. For the Mobei series, the message is no longer direct, national, symbolic. Simple artistic symbols may represent a region, a nation, a faith, or they can be explained intuitively. However, it does not sufficiently condense the feelings and ideas of the author. Art works more need to belong to their own, can fully explain the works, generalize the artistic symbols of emotion. It may be a silhouette; it may be a clever portrayal of the eye; it may be an inadvertent presentation of texture. But it must be deeply rooted in the people's heart, such symbolic symbols can not be arbitrary, but need to cover multiple emotions; we need to start from the perceptual subjective knowledge into rational language. In the last section, the problems encountered in practical operation and the solutions adopted are described. This part of the creation and thinking, showing the subjective and objective world, abstract thinking and feelings concrete process.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J305
，
本文编号：2143874
本文链接：https://www.wllwen.com/wenyilunwen/diaosuzhuangshi/2143874.html
