| 刀法说话是诟谇木刻版画的实质身分，本文从物性、人道及物性和人道互相感化的角度，研究诟谇木刻版画的刀法说话。刀作为制作刻痕的重要对象，它的运用要遵守必定的纪律，要重视刀法的气、刀法的力、刀法的速度和刀势。木刻的点线是刀感化于木的成果，是以除刀的特征以外，木也起到决议性的作用，另外作为承印资料的纸张和作为转印介质的油墨也关系到刀刻点线的内在的形质特色。木刻版画的物性特点是在人的自动介入下能力表现出来，有了创作者主体的精力介入，刀刻点线才有了内涵的审美特性和情绪表示的价值。诟谇木刻版画的刀法说话现实是物性和人道互相感化的成果，个中，人道的感化应当是积极的、自动的，这一点在木刻版画的画、刻、印三个阶段都有所表现。木刻的刀触刀痕既能表示客不雅物象，又有自力的审美特质及情绪表示价值。诟谇木刻版画的创作理论进程，也是我对刀法说话的继续进修的进程，在这一进程中，我对诟谇木刻版画停止了深刻的思虑，而且有了进一步的熟悉：刀触刀痕组成的刀法是诟谇木刻版画艺术说话的实质身分，诟谇木刻版画的艺术说话表现了其本身的艺术价值和审美特性，实质身分和审美特性组成了诟谇木刻版画艺术在物性与人道之间的奇特文明精力。 Abstract: The blade is the essence of black and white identity talk woodcut, this article from the humanitarian, transitivity and humanitarian interaction perspective, study the black and white woodcut knife. As an important object of making cutting knife, its application to comply with certain discipline, attention should be paid to the knife blade, air force, and the speed of this knife. Point line woodcut knife is probation results is outside of the wood, the wood cutter characteristics except, also can affect the resolution of the data, also as the production of paper and ink as transfer medium is also related to the knife point line internal quality characteristics. Physical characteristics of woodcut is manifested in the automatic intervention of the people, the creators of the energy involved, knife point line is the aesthetic characteristics and emotional connotation of the said value. The black and white woodcut knife to reality is physical and human interaction results, the effect should be positive, humane and automatic, which is in the woodcut painting, carving and printing three stages have the performance. The wood cutter contact marks not only can express the objective images and aesthetic characteristics and emotional self representation value. The process of the black and white woodcut creation theory, I also to continue the process of language learning method, in this process, I stopped thinking of deep black and white woodcut, and further familiar with: knife knife knife touch composition is the essence of black and white woodcut art as he said, he to speak the woodcut art of its artistic value and aesthetic characteristics, aesthetic characteristics and essence of identity formed a peculiar civilization energy of black and white woodcut in between physical and humanity. 目录: 摘要 3-4 Abstract 4 目录 5-7 第1章 引言 7-9 1.1 创作的动机和缘由 7-8 1.1.1 创作缘由一：对现代木刻版画的认识——时代的因素 7 1.1.2 创作缘由二：对黑白木刻版画刀法语言的重要性的认识——表现的价值 7-8 1.2 意义的引申：著作选材内容的缘由——情感的力量 8-9 第2章 创作过程探讨 9-14 2.1 创作构思的图示化过程 9-14 2.1.1 阶段一搜集素材 9-10 2.1.2 阶段二构图稿 10 2.1.3 阶段三素描小稿 10-11 2.1.4 阶段四黑白稿 11 2.1.5 阶段五正式稿 11-12 2.1.6 阶段六刻制 12 2.1.7 阶段七印制 12-14 第3章 对黑白木刻版画刀法语言的继承和学习 14-20 3.1 对刀法的具体理解 14-18 3.1.1 木刻工具刻画的点线由于其特殊的物性特征，会呈现出不同于笔触点线的外在特点及审美特征，法语论文题目，但也和笔画点线一样有共通的规律 14 3.1.2 木刻版画不同刀型点线的特点 14-15 3.1.3 制约木刻点线趣味性的因素 15-16 3.1.4 作用木刻版画刀法语言的主观因素 16-17 3.1.5 在木刻版画中，刀法语言的应用要有主次之分 17 3.1.6 对画面黑白节奏的认识 17 3.1.7 对整体刀法和局部刀法的认识 17-18 3.2 这件著作创作中对刀法处理的构想 18 3.3 黑白木刻刀法的应用要做到三个熟悉 18 3.4 刀影响于木的视觉反映，法语论文，以及对观者视觉心理的触动意义 18-20 第4章 结语关于黑白木刻刀法的进一步思考 20-22 4.1 刀法语言的启示 20 4.1.1 传统木刻版画经典著作的启示 20 4.1.2 中国画及书法的皴法和笔法的启示 20 4.1.3 自然物象的启示 20 4.2 开放性的刀法概念 20 4.3 刀法组织的审美规律 20-22 参考文献 22-24 致谢 24-26 附录A 毕业创作著作 26-30 个人简历、在学期间发表的学术论文与探讨成果 30 |
