| 罗丹在雕塑中起首注入了具有“古代认识”的雕塑说话。打破传统雕塑以详细物象为表示目标手段,从主动走向了自动,从表示空间到创作空间,终究树立了本身的雕塑说话,实际下去讲是标记着东方古代雕塑的开端。在受东方古代艺术的作用下,韩、中古代具象雕塑也产生了天翻地覆的变更。一个新的事物从发生到被年夜众所接收再与平易近族情结融会在一路后发生新的艺术情势必定是须要一个漫长和苦楚的阶段,而我以为这个进程是相符天然纪律的。在成长的进程中我们也认识到面向古代,面临我们本身的精力须要,不雅念表达,必需具有它的文明针对性,有小我作风和说话的标记性符号。然则任何艺术的发生和成长都与他的汗青配景分不开的,在研究中发明韩国与中国曾有着亲密的接洽,由于他们运用过雷同的文字,而且互为比来的邻邦。但是,很显著,虽然两国有着频仍的文明交换,但他们却发明了根据本国汗青地舆情况而树立的分歧情势的雕塑文明。中国一向摸索雕塑的实际主义趋向,但是韩国却偏向于偏心古代主义和后古代主义这类本钱主义文明派别,这类派别深受西欧或美国的艺术作风作用并有所转变。所以,本文对韩、中古代具象雕塑的成长情形停止了梳理、比拟,深度略论后,对将来成长有了一些思虑,也为我在往后的创作中供给无力的实际根据。同时也愿望韩、中之间连续赓续的交换,进一步增进那种配合坚持并具有亚洲价值但各自仍存的雕塑文明。 Abstract: Luo Dan in the sculpture first into a "ancient understanding" of the sculpture to speak. Break the traditional sculpture to detailed images expressed as a means of achieving goals, from active to automatic, from space to space creation, eventually establish the sculpture itself to speak, the actual down is marked the beginning of the ancient Oriental Sculpture. The influence of ancient oriental art, has changed the ancient sculpture, in South korea. A new things from happening to be Nianye all received again and plain near family complex fusion after a road occurred new forms of art must be required in the stage of a long and painful, and I think that this process is consistent with natural discipline of. In the process of growth we are also aware of the ancient, facing our own energy needs, the expression of the idea, must have its own civilization targeted, there is a personal style and the words of the mark. However any art occurrence and development are inseparable with his historical background. In the study invention South Korea and China have had a close contact, because they use a similar text and mutually nearest neighbors. But, clearly, although the two countries have frequent cultural exchange, but they invented the sculpture civilization according to their historical geographical environment and establish the differences of different situation. China has always been exploring sculpture realism trend, but South Korea was biased in eccentric modernism and post modernism the cost of civilized socialism factions. These factions by in Western Europe or the United States art style influence and change. Therefore, in this paper, the growth of the Han and the ancient figurative sculpture stopped combing, comparison, depth analysis, the future growth of some consideration, but also for me in the future creation of the supply of the weak basis. Also also desire and Korean between continuous and ceaseless exchange, so as to further promote the kind of complexes to persist and with Asian values but remain their deposit sculpture civilization. 目录: 中文摘要 4-5 英文摘要 5 目录 6-7 引言 7-8 一、韩、中现代具象雕塑的形成 8-15 (一) 韩、中现代具象雕塑的起源 8-9 (二) 发展初期雕塑家及著作特点 9-15 二、韩、中现代具象雕塑的变迁过程 15-27 (一) 西方现代艺术对韩、中现代具象雕塑发展的作用 15 (二) 现韩、中现代具象雕塑发展的几个时期 15-27 1. 1920年-1940年代 15-16 2. 1950年-1970年代 16-20 3. 1980年-2000年代 20-24 4. 2000年代以后 24-27 三、韩、中现当代具象雕塑的异同 27-29 (一) 社会体质异同下的雕塑家 27 (二) 大学教育体系的异同 27-29 四、韩、中现当代具象雕塑的特点 29-35 (一) 韩国现代具象雕塑家的特点(新型材料雕塑家及著作) 29-31 (二) 中国当代具象雕塑家的特点(代表性雕塑家及著作) 31-35 五、韩、中现当代具象雕塑发展探讨的意义 35-37 结语 37-38 参考文献 38-39 附录 39-40 后记 40 |
