壁画材料拓展—“撑中绣”

发布时间：2018-07-10 00:51

本文选题：壁画 + 材料拓展　；参考：《山东艺术学院》2017年硕士论文

【摘要】：现代社会是一个物质爆炸的社会,事物都在快速而多样的发展着。随着科技的进步,材料也是日益增多,材料的发展对于许多事物产生了一定的影响。壁画要想跟紧时代的步伐,不被湮没于新兴的事物之中,那么就要在继承传统的基础上,不断地开拓创新。而壁画材料的拓展就是一种创新,是现在以至于未来壁画发展的一个新的指向。提出将刺绣引入到壁画中这个设想并非空穴来风,是经过对壁画进行研究学习后提出来的。在对壁画的学习、研究中,发现壁画中材料占据着很重要的地位,壁画材料丰富,例如纤维、亚克力、木材、玻璃钢、钢铁等等。在众多的壁画实践作品里,用过很多纤维材料,在理论上也对纤维材料有很深入的研究。但却从未将刺绣引入到壁画中,无论是在壁画的实践中还是理论研究里,都处于空白的状态。因此,在对刺绣以及壁画的纤维材料进行了学习了解后,提出了将刺绣引入到壁画的设想。在提出将刺绣引入到壁画中这个设想后,通过与导师的交流、讨论,采取了理论结合实践的研究方式。在提出一个观点之后,通过实践来检验是否成立,通过实践反馈到理论研究当中,是一个设想——实践——理论——实践——理论的循环往复的反馈过程。通过多次的实践和理论的研究,探究出了壁画的新材料——“撑中绣”。也正是因为这样的理论和实践相互反馈的研究方式让我对于“撑中绣”的研究有更为直观的感受,更为深入的了解,也使得理论有一定的实践基础。“撑中绣”一词是通过我对于国内外刺绣艺术家的理念以及作品研究,再结合我自身对于刺绣的认识提出来的新词语。所谓“撑中绣”就是将撑子、布料、针、线等这些创作时所使用的材料和工具结合在一起,它们之间相互依托、相互联系,形成一个完整的个体,作为一种新的材料。它们在“撑中绣”中都具有自己独特的价值。同时,“撑中绣”中各部分的紧密结合,也赋予了材料突破限制的特性。同时,我又突破创新,赋予了撑子聚焦的艺术属性。“撑中绣”既是壁画创作中的工具、材料同时也是作品的一部分。撑子像是边界的存在才使得“撑中绣”更具有框定感。这种框定感也是作品本身以及作者的期盼。撑子内的内容突破撑子的束缚而和外界产生互动,将作品更好地融入到所处的环境之中。充分的展现了壁画和环境相融合的特性。同时结合了中外的刺绣方式,将创新型的刺绣方式引入到了壁画中,它已不是传统意义上的刺绣了。它运用了刺绣的工艺手段却不局限于刺绣的方式,而是追求工具、材料间的联系,追求作品与人们之间的互动,它无形中和周围产生着联系,它既是壁画的一种新材料也是一种新的表现方式同时也是壁画作品的组成部分。将刺绣艺术中的材料结合起来形成新的材料——“撑中绣”,将它引入到壁画中,对于壁画的发展有很大的积极作用。它使针、线、撑子、布料这些材料除了具有其自身的自然属性之外,还赋予了它们艺术属性。壁画新材料——“撑中绣”的拓展不仅仅填补了壁画在此处的理论研究和实践的空白,而且能够丰富壁画的语言,丰富壁画的材料,使得壁画向一个新的方向发展延伸,而且也能够激发艺术家的创作激情,给观者更多的艺术享受和想象空间。对壁画新材料——“撑中绣”的研究过程,是十分坎坷的,在此过程中导师给予我很大的帮助指导,坚定了我继续探索的决心。无论是在理论还是实践的探索中,都是荆棘密布。对壁画新材料的研究,没有经验可以借鉴,也没有丰富的资料可以查阅。在外文书籍以及外文网站上搜索的资料,由于语言的障碍,文化的差异,对这些资料的理解不够透彻,很难完全理解作者的真实想法,甚至引发歧义。在实践中,因为没有经验可用,避免不了失败也走了不少弯路,也使得对于壁画新材料——“撑中绣”的研究,多次处于搁浅状态。但在取得一定的进展的时候,一切的艰辛都被这些进步的喜悦所替代。在探索的过程中,我也了解了不少外国著名的刺绣秘鲁艺术家Ana Teresa Barboza,新加坡艺术家Lzziyana Suhaimi以及艺术家Sallur Hewett,艺术家Sallu Hewett,Amelia Harnas,,Louise Riley,Alicia Watkinsby等等。他们的作品新颖,形式多样,符合当代艺术发展的潮流。他们的艺术思想以及作品,与我的理念相互碰撞,激起了我更多的思考,同时也是对我的肯定和鼓励,让我在对壁画新材料“撑中绣”的研究道路中,更加坚定。
[Abstract]:Modern society is a society of material explosion, and things are developing rapidly and varied. With the progress of science and technology, materials are increasing, and the development of materials has a certain influence on many things. The murals want to follow the pace of the times and not be annihilated among the emerging things, then we must inherit the traditional basis, The expansion of the mural materials is a kind of innovation, which is a new direction for the development of the murals in the future. It is proposed that the idea of introducing embroidery into the murals is not empty, after studying and studying the murals. In the study of the murals, the materials in the murals are found to occupy the materials. With a very important position, the mural materials are rich, such as fiber, acrylic, wood, fiberglass, steel and so on. In the practice of many murals, many fiber materials have been used, and the fiber materials have been deeply studied in theory. However, embroidery has never been introduced into the wall painting, whether it is in the practice or theoretical study of the murals, All of them are in a blank state. Therefore, after learning about the fiber materials of embroidery and murals, the idea of introducing embroidery into the murals is put forward. After introducing the idea of introducing embroidery into the murals, through the communication with the tutor and discussion, the research method of combining theory with practice is adopted. After a point of view is put forward, Through practice to test whether it is true or not, through the practice of feedback to the theoretical research, it is an assumption - Practice - Theory - Practice - the feedback process of the circle. Through many practical and theoretical studies, we have explored the new material of the murals - "support in the embroidery". It is also the theory and practice. The research way of mutual feedback makes me feel more intuitionistic on the study of "Xiu Zhong embroidery", more in-depth understanding, and also makes the theory have a certain practical basis. The word "Xiu Zhong embroidery" is through my research on the ideas and works of embroidery artists at home and abroad, and then the new words and expressions of my own understanding of embroidery. The so-called "support in embroidery" is the combination of the materials and tools used in the creation of braces, cloth, needles and lines. They depend on each other and relate to each other to form a complete individual, as a new material. They have their own unique value in the "embroidery". At the same time, each part of "embroidered" In close combination, it also gives the characteristics of material breakthroughs. At the same time, I break through the innovation and give the artistic attribute of the focus of the brace. "Brace embroidery" is both a tool in the mural creation, and the material is also part of the work. The content of the body and the author's expectation. The contents of the braces break through the shackles of the braces and interact with the outside world to better integrate the works into the environment. It fully displays the characteristics of the fusion of the frescos and the environment. At the same time, it combines the Chinese and foreign embroidery methods to introduce the innovative embroidery formula into the murals, which is not the traditional meaning. It is not limited to embroidery, but the pursuit of tools, the connection between materials, the pursuit of the interaction between the works and the people, and the connection between the invisible and the surrounding. It is not only a new material of the murals but also a new form of expression and part of the mural works. The materials in the art of embroidery are combined to form a new material, "support in the embroidery", which is introduced into the murals, and has a great positive effect on the development of the murals. It makes the needles, lines, braces, and materials in addition to their own natural attributes. The expansion not only fills the blank of the theoretical research and practice of the murals here, but also enriches the language of the murals, enriches the materials of the murals, makes the frescos extend to a new direction, and can also stimulate the creative passion of the artists, and give the visitors more art enjoyment and imagination. In this process, the tutor gave me a lot of help and guidance and determined my determination to continue to explore. Both in theory and in the exploration of practice, it is a bramble. The study of the new mural materials, no experience can be learned, and no rich material can be consulted. In foreign language books. As a result of language barriers and cultural differences, the understanding of these materials is not thorough, and it is difficult to fully understand the author's ideas and even disambiguate. In practice, there are many detours in the absence of experience, failure to avoid failure and a new material for mural - "support" In the process of exploration, I also learned a lot of famous foreign embroidered Peru artists Ana Teresa Barboza, Singaporean artist Lzziyana Suhaimi and artist Sallur Hewett, in the process of exploration. Home Sallu Hewett, Amelia Harnas, Louise Riley, Alicia Watkinsby and so on. Their works are novel and diverse and conform to the trend of the development of contemporary art. Their artistic ideas and works collide with my ideas, arousing me to think more, but also to my affirmation and encouragement, let me support the new mural materials. In the research road of embroidery, it is more firm.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J218.6

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