试论中国当代版画艺术中色彩的象征性语言

发布时间：2018-04-01 18:18

本文选题：色彩　切入点：象征性　出处：《华中师范大学》2013年硕士论文

【摘要】：在造型艺术中,色彩作为一种重要的表现手段,具有自己独特的审美价值,也是最富有意味的形式。由于地域、民族、信仰、生存环境、生命观念等等的不同,人们看见不同颜色,就会有不同的感觉,会赋予某种特定的内容——这就是色彩的象征。传统的“五行五色观”和儒家、道家、释家的色彩美学划定了中国古代色彩的范畴,也对后世色彩观的发展奠定了文化的根基。在当代版画艺术中,色彩作为一个重要的语言形式,发挥着不可替代的作用,无论是清新优雅、韵味十足的水印木刻版画,色彩厚重统一的铜版画,还是色调单纯强烈、明快透亮的丝网版画都有自己突出的色彩特点,渗透着中国特有的美学意蕴。通过分析中国当代具有代表性的版画家的作品,笔者认为,当代中国版画的色彩具有强烈的主观表现性和象征性。色彩的象征性语言,在表达艺术家创作的主观意图和个性语言方面,起着越来越重要的作用。艺术家只有在文化自觉的基础之上,追求色彩的个性价值,实现色彩的个性自觉,才能创作出符合时代色彩审美的艺术作品,实现中国当代版画的价值。从本论文结构来看,全文共分为三部分。第一部分是绪论,介绍了论文的研究对象、意义、目的,及研究思路与研究方法,并对现有的相关理论研究进行了简要的概括,见本论文的绪论部分。第二部分主要介绍传统色彩的象征意义以及中国传统美学中最具有代表性的儒、道、’释三家重要的色彩美学观点,并对当代版画中对传统美学文化的传承、力求实现传统美学在当代的文化自觉作出进一步的分析。第三部分是文章的主体部分。首先从大的角度分析了中国当代版画在不同时期不同发展阶段的鲜明特征：然后进入版画的色彩语言,从“版”的角度论述在不同版种间色彩语言的呈现；最后深入到色彩象征性语言的具体呈现,从“人”的角度分析不同版种版画家的具体作品,直至得出分析结论。第四部分是文章结语部分,主要是对本论文的内容作出总结,提出当代版画应该在文脉传承中实现色彩语言的个性自觉这个观点。
[Abstract]:In plastic arts, color as an important means of expression, has its own unique aesthetic value, but also the most meaningful form.Because of different regions, nationalities, beliefs, living environment, life concepts, people see different colors, they will have different feelings, will give a certain content-this is the symbol of color.In contemporary printmaking art, color, as an important language form, plays an irreplaceable role, whether it is fresh and elegant watermarked woodcut prints, thick and uniform copperprints, or simple and intense tones.Bright and transparent screen prints have their own prominent color characteristics, permeating the unique aesthetic implications of China.By analyzing the works of Chinese contemporary printmakers, the author thinks that the colors of contemporary Chinese prints have strong subjective expressiveness and symbolism.Symbolic language of color plays a more and more important role in expressing the subjective intention and individual language of artist's creation.Only on the basis of cultural consciousness, pursuing the individual value of color and realizing the individual consciousness of color, can artists create works of art in accordance with the aesthetic taste of the times and realize the value of Chinese contemporary prints.From the structure of this paper, the full text is divided into three parts.The first part is an introduction, which introduces the research object, significance, purpose, research ideas and research methods, and briefly summarizes the existing relevant theoretical research, see the introduction part of this paper.The second part mainly introduces the symbolic meaning of traditional color and the three important color aesthetic viewpoints of Confucianism, Taoism and Buddhism, which are the most representative in Chinese traditional aesthetics, and the inheritance of traditional aesthetic culture in contemporary print.Strive to achieve traditional aesthetics in the contemporary cultural consciousness to make a further analysis.The third part is the main part of the article.This paper first analyzes the distinct characteristics of Chinese contemporary prints in different periods and stages of development from a large perspective: then enters into the color language of prints, and discusses the presentation of color languages in different versions from the angle of "edition";Finally, it goes deep into the concrete presentation of symbolic language of color, analyzes the concrete works of different kinds of printmaking artists from the angle of "human", and reaches the conclusion of analysis.The fourth part is the conclusion of the article, mainly summarizes the content of this paper, and puts forward the view that contemporary print should realize the individuality consciousness of color language in the transmission of context.
【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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