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伴随原创版画时期的到来,版画才真正卸去了肩负了几个世纪以来的复制传播使命,开始成为独立的画种并只为艺术创作服务。但由于版画的特殊发展历程,即使是在原创版画时期,“复制”的影子仍然挥之不去,原创版画拥有了“复数艺术”的身份。然而在艺术观念上,艺术作品必须具有唯一性和原真性,在这种认知下,“原创”和“复数”这两者就显得难以调和;而如何保留“复制”属性并在“复制”和“原创”两者间去寻找平衡与发展是原创版画的问题之一。而在版画技法层面,“原创”的观念也同样存在,所以拓展版画中“痕迹语言”的空间同样至关重要;本文围绕“复制”从创作观念和创作技法中来探讨原创版画发展中显露出的问题。
With the advent of the original printmaking era, printmaking really took away the mission of copying and communication over the centuries and began to become an independent type of painting and serve only artistic creation. However, due to the special development of printmaking, even in the original printmaking period, the shadow of “copy” still lingered. The original print possessed the identity of “complex art”. However, in the view of art, the artwork must be unique and authentic. Under this kind of cognition, it is difficult to reconcile “original ” and “plural ”; Property and looking for balance and development between “copy ” and “original ” is one of the issues with original prints. In terms of printmaking techniques, the idea of “original” also exists. Therefore, it is also crucial to expand the space of “trace language” in printmaking. This article focuses on “copying” from the perspectives of creative ideas and creative techniques The original print development revealed problems.