探析中國當(dāng)代版畫創(chuàng)作過程中的“技”與“道”
發(fā)布時(shí)間：2018-08-05 18:12
【摘要】：縱觀中國藝術(shù)史,無論是古代繪畫還是當(dāng)代繪畫,只要是談?wù)撟鳛橐曈X藝術(shù)的繪畫形式,最終還是需要我們具體落實(shí)到繪畫的語言上。從上個(gè)世紀(jì)八十年代至今,在歷經(jīng)了二十多年的發(fā)展與成長的中國當(dāng)代版畫當(dāng)中,我們可以深刻的感受到其語言的多元化與藝術(shù)的自律性。從這期間的版畫創(chuàng)作當(dāng)中我們不難看出版畫創(chuàng)作過程中“技”與“道”的博弈已變得日趨激烈。在中國的傳統(tǒng)繪畫當(dāng)中“技”與“道”是一對(duì)進(jìn)行著相對(duì)運(yùn)動(dòng)的概念,它們可以被分開來理解,卻又不能被完全的割裂。“道”是中國傳統(tǒng)文化和哲學(xué)的思想核心,它在中國的文化史和哲學(xué)史上生生不息,它對(duì)中國藝術(shù)發(fā)展的影響廣泛而深刻。而“技”在中國的傳統(tǒng)繪畫當(dāng)中是伴隨著畫家與賞畫人對(duì)于“道”的審美眼光的不斷發(fā)展而日趨成熟。再者,“技”與“道”是相輔相成的,“道”的不斷發(fā)展,促成了“技”的逐步成熟,而“技”的逐漸成熟又推動(dòng)了“道”的不斷演變,這二者從哲學(xué)的角度看是辯證統(tǒng)一的關(guān)系。并且,諸多的版畫創(chuàng)作實(shí)例也可以讓我們清晰的了解到：在當(dāng)今這樣一個(gè)被多元化思潮充斥著的環(huán)境之下,中國當(dāng)代版畫創(chuàng)作過程中的創(chuàng)作思想、創(chuàng)作媒材、審美情趣、觀察方法、評(píng)價(jià)標(biāo)準(zhǔn)等仍然受到傳統(tǒng)“技”、“道”觀的深刻影響。那么,要想對(duì)中國當(dāng)代版畫創(chuàng)作過程當(dāng)中“技”與“道”的高低、優(yōu)劣做出一個(gè)客觀且可信的衡量,還需要我們對(duì)“技”與“道”的關(guān)系有一個(gè)明確的梳理和正確的理解。 筆者試圖對(duì)諸多實(shí)例的剖析來說明中國當(dāng)代版畫創(chuàng)作過程中“技”與“道”的關(guān)系,并力圖讓讀者清楚的認(rèn)識(shí)中國當(dāng)下版畫創(chuàng)作過程中“技”與“道”的運(yùn)用與呈現(xiàn)。這涉及到中國人民對(duì)中國傳統(tǒng)文化的繼承與吸收,更涉及到新一代藝術(shù)家對(duì)于中國優(yōu)良傳統(tǒng)文化的傳承等問題。通過一系列的分析,最后得出：關(guān)于“技”和“道”的關(guān)系當(dāng)中,“技”是“道”的物質(zhì)基礎(chǔ),“道”是“技”的最終目標(biāo),只有基礎(chǔ)與本體目標(biāo)相結(jié)合才能讓藝術(shù)創(chuàng)作達(dá)到最完美的境界。
[Abstract]:Throughout the history of Chinese art, whether ancient painting or contemporary painting, as long as we talk about the form of painting as visual art, we still need to implement the language of painting. From the eighties of the last century to now, after more than 20 years of development and growth of Chinese contemporary prints, we can deeply feel the diversity of its language and the self-discipline of art. It is not difficult to see the game between "skill" and "Tao" in the process of printmaking. In Chinese traditional painting, "skill" and "Tao" are two relative concepts which can be understood separately, but not completely separated. Tao is the core of Chinese traditional culture and philosophy. It has a profound and extensive influence on the development of Chinese art because of its continuous existence in the history of Chinese culture and philosophy. In Chinese traditional painting, "technique" is maturing with the development of aesthetic vision of "Tao" by painters and appreciators. Furthermore, "technology" and "Tao" complement each other. The continuous development of "Tao" has contributed to the gradual maturation of "technology", and the gradual maturation of "technology" has promoted the continuous evolution of "Tao". The two are dialectical and unified from a philosophical point of view. Moreover, many examples of printmaking can let us clearly understand that under such an environment full of diversified thoughts, the creative ideas, creative media, and aesthetic interests in the process of Chinese contemporary print creation, Observation methods and evaluation criteria are still deeply influenced by traditional "technique" and "Tao" view. So, if we want to make an objective and credible measure of the quality of "technique" and "Tao" in the process of Chinese contemporary print creation, we also need to have a clear combing and correct understanding of the relationship between "technique" and "Tao". The author tries to explain the relationship between "technique" and "Tao" in the process of Chinese contemporary print creation by analyzing many examples, and tries to make readers understand clearly the application and presentation of "technique" and "Tao" in the process of Chinese contemporary print creation. This involves the inheritance and absorption of Chinese traditional culture by the Chinese people and the inheritance of Chinese fine traditional culture by the new generation of artists. Through a series of analyses, it is concluded that in the relationship between "technology" and "Tao", "technology" is the material basis of "Tao", and "Tao" is the ultimate goal of "technology". Only the combination of the foundation and the Noumenon goal can the artistic creation reach the most perfect state.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J217
本文編號(hào)：2166587
[Abstract]:Throughout the history of Chinese art, whether ancient painting or contemporary painting, as long as we talk about the form of painting as visual art, we still need to implement the language of painting. From the eighties of the last century to now, after more than 20 years of development and growth of Chinese contemporary prints, we can deeply feel the diversity of its language and the self-discipline of art. It is not difficult to see the game between "skill" and "Tao" in the process of printmaking. In Chinese traditional painting, "skill" and "Tao" are two relative concepts which can be understood separately, but not completely separated. Tao is the core of Chinese traditional culture and philosophy. It has a profound and extensive influence on the development of Chinese art because of its continuous existence in the history of Chinese culture and philosophy. In Chinese traditional painting, "technique" is maturing with the development of aesthetic vision of "Tao" by painters and appreciators. Furthermore, "technology" and "Tao" complement each other. The continuous development of "Tao" has contributed to the gradual maturation of "technology", and the gradual maturation of "technology" has promoted the continuous evolution of "Tao". The two are dialectical and unified from a philosophical point of view. Moreover, many examples of printmaking can let us clearly understand that under such an environment full of diversified thoughts, the creative ideas, creative media, and aesthetic interests in the process of Chinese contemporary print creation, Observation methods and evaluation criteria are still deeply influenced by traditional "technique" and "Tao" view. So, if we want to make an objective and credible measure of the quality of "technique" and "Tao" in the process of Chinese contemporary print creation, we also need to have a clear combing and correct understanding of the relationship between "technique" and "Tao". The author tries to explain the relationship between "technique" and "Tao" in the process of Chinese contemporary print creation by analyzing many examples, and tries to make readers understand clearly the application and presentation of "technique" and "Tao" in the process of Chinese contemporary print creation. This involves the inheritance and absorption of Chinese traditional culture by the Chinese people and the inheritance of Chinese fine traditional culture by the new generation of artists. Through a series of analyses, it is concluded that in the relationship between "technology" and "Tao", "technology" is the material basis of "Tao", and "Tao" is the ultimate goal of "technology". Only the combination of the foundation and the Noumenon goal can the artistic creation reach the most perfect state.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J217
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