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严格意义上说我国的木板画历史源远流长。但实际上在二十世纪初,“版画”这一新词汇才引入到我国的艺术领域。也从那时起,中国版画才真正从“复制版画”走上“创作版画”之路。套色木刻版画是我国木刻版画的一个重要成绩,也是当代美术世界里很具特色的画种品类。艺术家以独特的创作过程充分而全面地表现创作意图,套色木刻版画的创作过程就是一场凝炼概括与细致刻画的互动,套色的颜色一般不宜过多,那么就需要对其凝炼、概括,归纳颜色后制版,同时在画面内容上又存在着丰富细腻的刻画。版画色彩的运用是艺术家个人对色彩的主观意识,也是心理体验与感受。用色彩套印的版画,丰富了版画的艺术语言和表现手段,套色木刻版画以其瑰丽多姿的色彩而引人喜爱。
Strictly speaking, the history of wood painting in China has a long history. In fact, at the beginning of the twentieth century, the new term “engraving” was introduced into the art of our country. Since then, Chinese prints have really embarked on the road of “creating prints ” from “copying prints ”. Taose color woodblock printing is an important achievement of woodblock printing in our country, it is also the unique art category in contemporary art world. The artist’s creative process fully and comprehensively expresses his creative intent. The process of creating a woodblock print is a condensed and meticulously detailed interaction. The color of the hello should not be too much, so it is necessary for him to condense, summarize, After the induction of color plate, at the same time in the picture content there is rich and delicate portrayal. The use of print color is a subjective personal awareness of the artist, but also psychological experience and feelings. Prints with color overprinting enriched the artistic language and means of printmaking, and the hedging woodblock prints appeal with their magnificent colors.