当代版画图式语言研究

Abstract

The graphic language is an important means to form the picture form and represent the artist's artistic thought, and every creator must pay attention to the problem, so pursuing individualized graphic language becomes a lifelong pursuit of every creator. From ancient Greece to the Renaissance, drawing patterns were based on a high degree of rationalization, requiring a sense of balance, authenticity of color, accuracy of modeling proportions, and scientific perspective of light and shadow. The history of modern painting since the Renaissance is the resurrection of human nature, and the foundation of humanism is the free expression of emotion, until the emotion in art exceeds the pattern carried. The graphic language in contemporary art trends tends to be more visualized, so the individualization of the graphic language in the works is more demanding. Under the modern industrial society, social development tends to be the same, traditions and ethnic groups have almost faded away from life, and living space is becoming increasingly quiet. The relationship between tradition and contemporary needs to be carefully understood. It is necessary to maintain space for traditional elements in the context of the present day. Artists should also absorb the style of the times while maintaining themselves. Traditional aesthetic feeling, on which it is integrated into contemporary culture, can maintain itself in aesthetic creation. Innovation does not completely negate tradition, nor can development completely abandon the past. Only on this basis can contemporary print art achieve individualized development. This paper first discusses what is a schema from the schema, and takes Xu Bing as an example to distinguish what is a contemporary schema through his works Tian Shu and Di Shu. The traditional patterns are not only related to the national characteristics but also to the environment in which artists are exposed, so we can understand why printmaking absorbs traditional patterns. The pattern is not immutable in the first layer, but with the development of the times, the structure of people's inner pattern also develops with the development of the times, so that the value and connotation of the pattern must be reflected in the printing art. Learn how other artists absorb traditional patterns, look at their artworks dialectically, and embrace traditional and contemporary patterns to advance the language of printmaking. Art belongs to the realm of the mind, which is distinctly non-utilitarian, unlike life. With the advancement and development of technology and the widespread application of new media such as information technology and digital images, it has become a common feature of this society and has a profound impact on our lives. The explosion of information has made international exchanges more and more frequent. At the same time, the development of global integration has provided great convenience to the culture and art of all ethnic groups. In this way, art patterns that used to have the characteristics of various ethnic groups are constantly being construed and recreated as patterns of contemporary characteristics. We can see that contemporary printmaking is very related to traditional culture and contemporary society. A printmaker must understand printmaking if he wants to innovate in printmaking.