發(fā)布時(shí)間：2018-09-13 12:27

【摘要】：任何一個(gè)時(shí)代藝術(shù)的產(chǎn)生,都離不開(kāi)歷史、政治、經(jīng)濟(jì)、藝術(shù)形態(tài)以及民族文化等共同構(gòu)筑的時(shí)代背景的影響。因此,每一種藝術(shù)的形成與風(fēng)格特征都是特定民族、環(huán)境和時(shí)代精神的折射,并深深打上它們的烙印。插畫(huà)作為其中的一種藝術(shù)形式不可避免的也要受到時(shí)代的影響。 在新的時(shí)代的背景和技術(shù)的發(fā)展下,現(xiàn)代插畫(huà)突破了傳統(tǒng)的插畫(huà)設(shè)計(jì)范疇,帶來(lái)了新的插畫(huà)藝術(shù)的創(chuàng)作理念。其應(yīng)用范圍也超出了雜志、廣告等傳統(tǒng)的出版設(shè)計(jì)范疇,而被廣泛運(yùn)用于影視、動(dòng)畫(huà)、服裝時(shí)尚、網(wǎng)絡(luò)、移動(dòng)通訊等領(lǐng)域,插畫(huà)藝術(shù)已成為21世紀(jì)的一門(mén)多載體實(shí)用藝術(shù),形成了一個(gè)多學(xué)科交叉的龐大體系,其影響力滲透到當(dāng)今經(jīng)濟(jì)、文化、生活等各個(gè)層面。在新的時(shí)代背景下,傳統(tǒng)的插畫(huà)藝術(shù)已不合時(shí)宜。因此站在時(shí)代的高度上,來(lái)探討現(xiàn)代插畫(huà)藝術(shù)的語(yǔ)言特征是十分必要的。但此領(lǐng)域的理論研究相對(duì)滯后。因此,本文站在時(shí)代背景的宏觀角度上對(duì)現(xiàn)代插畫(huà)的藝術(shù)語(yǔ)言進(jìn)行剖析。 本課題對(duì)現(xiàn)代插畫(huà)研究的時(shí)間定位在九十年代以來(lái)國(guó)內(nèi)外主流插畫(huà)的發(fā)展以及在這個(gè)時(shí)間段的時(shí)代背景下現(xiàn)代插畫(huà)藝術(shù)的發(fā)展動(dòng)態(tài)。首先通過(guò)對(duì)插畫(huà)歷史發(fā)展歷程的簡(jiǎn)單梳理,對(duì)比現(xiàn)代插畫(huà)已較傳統(tǒng)的插畫(huà)藝術(shù)產(chǎn)生了哪些新的變化,具有了哪些新的內(nèi)涵,并總結(jié)出變化最大的兩個(gè)主要的特點(diǎn)復(fù)蘇的商業(yè)插畫(huà)和藝術(shù)與技術(shù)結(jié)合的數(shù)碼插畫(huà)。其次通過(guò)分析各種藝術(shù)思潮對(duì)現(xiàn)代插畫(huà)藝術(shù)的影響,來(lái)探討現(xiàn)代主流插畫(huà)藝術(shù)的各種風(fēng)格特征,總結(jié)這些主流的插畫(huà)所呈現(xiàn)的表現(xiàn)形式。再次從時(shí)代的變化對(duì)人們審美心理審美趣味的影響進(jìn)行認(rèn)真的分析、歸納,試圖找出影響人們審美情趣的時(shí)代因素。第四章從宏觀的現(xiàn)代插畫(huà)藝術(shù)語(yǔ)言入手,分別從視覺(jué)和意象兩方面運(yùn)用插畫(huà)的藝術(shù)規(guī)律探求新時(shí)代下插畫(huà)的藝術(shù)語(yǔ)言,并在分析總結(jié)后,提出現(xiàn)代插畫(huà)的時(shí)代語(yǔ)言應(yīng)是“融合民族特質(zhì)的世界語(yǔ)言”的觀點(diǎn),力求把傳統(tǒng)與現(xiàn)代,國(guó)內(nèi)與國(guó)際結(jié)合起來(lái),使現(xiàn)代插畫(huà)既有傳統(tǒng)文化的意蘊(yùn),又符合現(xiàn)代人視覺(jué)上的審美趣味,并用筆者在插畫(huà)實(shí)踐中嘗試性的探索來(lái)論證本觀點(diǎn)。最后對(duì)現(xiàn)代插畫(huà)的未來(lái)發(fā)展趨勢(shì)做了預(yù)測(cè)。
[Abstract]:The emergence of any time art can not be separated from the influence of historical, political, economic, artistic form and national culture. Therefore, the formation and stylistic characteristics of each art are the refraction of the specific nation, environment and the spirit of the times, and deeply imprinted on them. Illustration as one of the art forms is inevitably influenced by the times. Under the background of the new era and the development of technology, modern illustration broke through the traditional category of illustration design and brought new creative idea of illustration art. Its scope of application also goes beyond the traditional publishing design category such as magazines and advertisements, and is widely used in the fields of film and television, animation, clothing fashion, network, mobile communication, etc. Illustration art has become a multi-carrier practical art in the 21st century. It forms a large multi-disciplinary system, and its influence permeates the economy, culture, life and so on. Under the background of the new era, the traditional illustration art is out of date. Therefore, it is necessary to explore the linguistic features of modern illustration art from the height of the times. However, the theoretical research in this field is relatively lagging behind. Therefore, this paper analyzes the artistic language of modern illustrations from the macro point of view of the background of the times. In this paper, the time orientation of the study of modern illustrations is the development of mainstream illustrations at home and abroad since the 1990s and the development trend of modern illustrator art under the background of this time period. First of all, by simply combing the historical development of illustrations, comparing what new changes and connotations the modern illustration has had compared with the traditional illustration art, And summed up the two major features of the biggest changes in the revival of commercial illustrations and the combination of art and technology in digital illustration. Secondly, by analyzing the influence of various artistic trends on modern illustration art, this paper discusses the various style characteristics of modern mainstream illustration art, and summarizes the manifestations of these mainstream illustrations. Thirdly, the influence of the change of the times on the aesthetic taste of people's aesthetic psychology is analyzed and summed up, which tries to find out the factors that influence people's aesthetic taste. The fourth chapter starts from the macroscopic modern illustration art language, separately from the visual and the image two aspects uses the illustration art law to explore the artistic language of the illustration under the new era, and after the analysis summarizes, This paper puts forward the view that the language of modern illustration should be "the world language of national characteristics", and tries to combine tradition with modernity, domestic and international, so that modern illustration has the implication of traditional culture. It also accords with the aesthetic taste of modern people, and proves this viewpoint with the tentative exploration in the practice of illustrations. Finally, the future development trend of modern illustrations is forecasted.
【學(xué)位授予單位】：沈陽(yáng)建筑大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J218.5

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