【摘要】： 無論在傳統(tǒng)上,還是在革新方面,版畫藝術(shù)自身的版種分支的復(fù)雜性自然而然地導(dǎo)致了版畫領(lǐng)域里觀念的廣泛性以及選材、風(fēng)格和制作方法上的多樣性。20世紀(jì)末期以來,人們一已趨向于探導(dǎo)新的藝術(shù)審美觀,而新的審美觀的建立通常離不開材料和技術(shù)的創(chuàng)新。有些版畫家采用傳統(tǒng)獨(dú)特的版畫媒介表現(xiàn)他們的創(chuàng)作理念。例如:銅版、木版和石版等等。還有些人則開始利用新興的工具和材料進(jìn)行實(shí)驗(yàn)、探索。目前,版畫藝術(shù)家可利用的媒介很多,像大型印刷機(jī)、電動(dòng)工具、合成版加版畫紙、滾筒印刷和彩色油墨以及計(jì)算機(jī)媒介等等。更多的工業(yè)技術(shù)的進(jìn)步把版畫藝術(shù)家引向了實(shí)驗(yàn)、發(fā)明的時(shí)代,但是,并不是所有的實(shí)驗(yàn)都集中在材料和技術(shù)上。 版畫家和其他藝術(shù)家一樣在不斷的尋找對(duì)比的方法,其中之一就是把加工過的版畫材料組合在一起加以比較。石版、絲網(wǎng)、腐蝕凸版或宣紙貼印等版畫通常需要制作成一個(gè)單一版面,現(xiàn)代版畫家已經(jīng)突破了舊的傳統(tǒng)觀念和技術(shù)的束縛。在版畫制作過程中除了使用新材料、工具和技術(shù)之外,還發(fā)明了一種稱為獨(dú)幅版畫的獨(dú)特版畫。四十年前許多畫展不允許展出這種版畫作品。照相制版的加工過程在歐美已經(jīng)存在了三十年,最近計(jì)算機(jī)又成了繪制版畫形象的工具,而且計(jì)算機(jī)還能從藝術(shù)史料上、報(bào)刊雜志、攝影藝術(shù)、商業(yè)廣告藝術(shù)以及與之有關(guān)的領(lǐng)域里提取素材,加以合成。 分析、評(píng)論當(dāng)代所有新生的數(shù)碼藝術(shù)要遠(yuǎn)遠(yuǎn)超出這本書的局限,因?yàn)椴煌L(fēng)格的藝術(shù)形式在競(jìng)相發(fā)展,新的繪畫風(fēng)格在不斷形成、演變。我們不能設(shè)想某一單一的風(fēng)格,能夠永遠(yuǎn)主導(dǎo)未來版畫藝術(shù)的發(fā)展方向。在中國(guó)新興版畫發(fā)展的六十余年的歷史中,對(duì)外版畫交流是其中的一項(xiàng)重要的活動(dòng)內(nèi)容。中外版畫家通過交流互相學(xué)習(xí),取長(zhǎng)補(bǔ)短,可以促進(jìn)版畫藝術(shù)的共同提高,繁榮世界的版畫藝術(shù)。中國(guó)新興版畫的倡導(dǎo)者魯迅先生從一開始就十分重視中外版畫交流的重要意義。當(dāng)時(shí)他對(duì)外國(guó)版畫的介紹便是不遺余力,而且他的視野也是全方位的,世界各國(guó)的優(yōu)秀版畫作品都是他引進(jìn)的對(duì)象。今天,隨著計(jì)算機(jī)圖形處理技術(shù)和多媒體的廣泛應(yīng)用,歐美等國(guó)的當(dāng)代數(shù)碼技術(shù)的應(yīng)用領(lǐng)域在不斷的擴(kuò)大,并且已經(jīng)逐步深入到藝術(shù)創(chuàng)作的活動(dòng)當(dāng)中,并取得了初步的成功。今天,數(shù)碼版畫的引進(jìn)和創(chuàng)新是現(xiàn)代科技與版畫藝術(shù)的又一次很好的結(jié)合,是科學(xué)技術(shù)在當(dāng)今社會(huì)創(chuàng)造的新的藝術(shù)形式。它為版畫藝術(shù)又增添了新的活力,并延伸了版畫藝術(shù)的概念,體現(xiàn)了版畫藝術(shù)在新時(shí)代的無比包容性。但同時(shí),數(shù)碼版畫當(dāng)前還是以一種新事物的姿態(tài)出現(xiàn)在大家面前。本篇論文正是通過理性地辯證剖析當(dāng)代數(shù)碼版畫作品的色彩紛呈、種類繁多的藝術(shù)形態(tài)來展現(xiàn)數(shù)碼版畫其存在的可能和特殊的藝術(shù)價(jià)值。
[Abstract]:In both tradition and innovation, the complexity of printmaking's own branch has naturally led to a wide range of ideas and diversity in material selection, style and production methods in the field of printmaking. Since the end of the 20th century, the complexity of its own branch has naturally led to a wide range of ideas and diversity in material selection, style and production methods in the field of printmaking. People have tended to explore new artistic aesthetics, and the establishment of new aesthetics usually depends on the innovation of materials and technology. Some printmakers use traditional and unique print media to express their creative ideas. For example: copper plate, wood plate and stone plate and so on. Others began to experiment and explore with emerging tools and materials. At present, there are many media available to print artists, such as large printing press, electric tools, synthetic plate plus printing paper, roller printing and color ink, computer media and so on. More advances in industrial technology have led printmaking artists to the era of experiments, inventions, but not all experiments focus on materials and technology. Printmakers, like other artists, are constantly looking for ways to compare, one of which is the combination of processed print materials. Lithography, silk screens, etched letterpress, or xanthan printing often require a single layout, and modern printmakers have broken through the constraints of old traditional concepts and techniques. In addition to the use of new materials, tools and techniques in print making, a unique print called a single print has been invented. Forty years ago, many art exhibitions did not allow such prints to be exhibited. The process of making photographic plates has been in existence in Europe and the United States for 30 years. Recently, computers have become tools for drawing printmaking images. Moreover, computers can also be used from the historical materials of art, newspapers and magazines, and the art of photography. Commercial advertising art and related fields to extract and synthesize materials. Analyzing and commenting on all contemporary new digital art goes far beyond the limits of this book, because different styles of art are competing for development, and new painting styles are constantly forming and evolving. We can not imagine a single style, can always dominate the direction of future print art. In the 60-year history of China's emerging printmaking, foreign printmaking exchange is one of the important activities. Chinese and foreign printmaking artists learn from each other and learn from each other, can promote the common improvement of printmaking art, and prosper the world's printmaking art. Mr. Lu Xun, an advocate of China's emerging printmaking, has attached great importance to the exchange between Chinese and foreign printmaking from the beginning. At that time, his introduction to foreign printmaking is spare no effort, and his vision is also all-round, the world's excellent prints are the object of his introduction. Today, with the wide application of computer graphics processing technology and multimedia, the application field of contemporary digital technology in Europe and America and other countries is expanding continuously, and has been gradually deepened into the activities of artistic creation, and has achieved initial success. Today, the introduction and innovation of digital printmaking is another very good combination of modern science and technology and printmaking art, and it is a new artistic form created by science and technology in today's society. It adds new vitality to print art, extends the concept of print art, and embodies the incomparable inclusiveness of print art in the new era. But at the same time, digital printing is still a new thing in front of everyone. This paper is through the rational dialectical analysis of contemporary digital printmaking works colorful, a wide range of artistic forms to show the existence of digital printing and its special artistic value.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：J217

【引證文獻(xiàn)】

相關(guān)期刊論文 前3條

1 梁嘉;;開放·融合——當(dāng)代多元文化視角下的版畫教學(xué)趨向[J];美術(shù)大觀;2011年11期

2 梁嘉;;版新 新版——當(dāng)代高校版畫教學(xué)的創(chuàng)新研究[J];美術(shù)教育研究;2011年12期

3 王琪斐;;版畫藝術(shù)中的色彩語言分析[J];社科縱橫;2012年09期

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本文編號(hào)：2464718