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版画发展至今,在技术的应用和形式语言的探索上更趋于多元化,传统与当代的艺术语汇交织在一起,构成了当下开放的版画创新格局。但是,由于版画的特质在于“印痕”的确认,因此展示与呈现痕迹的技术便成为版画家们的普遍追求,在纯化语言、物性探索、精粹技艺等方面投入了极大的热情和精力,这在一定程度上改变了传统版画的语言程式、丰富了印制手段,但同时衍生出一些新的问题。一:对技术的过于依赖和迷恋,一味的追求形式语言,导至忽视主体观念的明确性,使版画作品呈现出过强的制作感和工艺性。二:艺术家不关注社会、疏离生活、沉溺在主体个性化的建构中。因此,当代版画的主要问题不是语言的陈旧而是精神的失落。版画发展进入了一个为技术而“技术”的局限之中。一些版画家脱离生活和时代,将自己陷入画地为牢、作茧自缚的困惑之中。面对困惑,我们应该思考。
Since the development of printmaking, it has become more and more diversified in the application of technology and the exploration of formal language. The traditional and contemporary art vocabulary are intertwined, forming the current pattern of openness and innovation in printmaking. However, since the nature of print lies in the recognition of “Imprint ”, the technique of displaying and presenting traces has become a universal pursuit of printmakers and has invested a great deal of enthusiasm and energy in purifying languages, exploring physical features, and refining techniques , Which to some extent changed the traditional print language program, enriching the printing method, but at the same time derived some new problems. One: over-dependence and obsession with technology, blind pursuit of formal language, leading to the neglect of the clarity of the concept of the main body so that print works showing a strong sense of production and craftsmanship. Second: artists do not pay attention to society, alienation of life, addicted to the subject of personalized construction. Therefore, the main problem of contemporary printmaking is not the obsolescence of language but the loss of spirit. Print development has entered a technology and “technology ” of the limitations. Some of the printmakers, out of their own lives and the times, have trapped themselves in censure and cocooning. In the face of confusion, we should think.