文档介绍：天津美术学院
硕士学位论文
从语言到符号——浅析铜版画干刻技法之美
姓名:张轶
申请学位级别:硕士
专业:美术学
指导教师:范敏
20080401
天津美术学院造型分院版画系 2005 届硕士生毕业论文
从语言到符号
——浅析铜版画干刻技法之美
中文摘要:
干刻是一种最为简单直接而自由的铜版画技法,用刻针直接在金属板(铜板、锌板、PS 板
等)或塑料板的版面上表现,不经过腐蚀。制作后即可上墨印刷。其特征是线条富于变化,温
润富于魅力,给人一种轻盈和自由的感觉。干刻技法在 15 至 17 世纪,先后经几位艺术大师的
努力从萌芽走向发展。19 世纪版画艺术家们大多具有抵抗艺术品批量生产的特点,艺术家们往
往宁愿手工制作数量较少的佳作,而不是数以百计相同他们并不满意的作品。他们更愿意尝试
新的媒材和技术,这使得“干刻”又有机会重登版画艺术的舞台,可以说 19 世纪是“干刻”全
新的转折点。20 世纪以来,随着时代的变迁、新技术的更新及各种新兴艺术观念蓬勃兴起,使
更多的艺术家向干刻技法投来橄榄枝。
如果将“毛刺”印刷出的效果作为一种“符号”来看,不但是干刻“特异性”的表现,也
是干刻“表象符号性”的基础。传统意义上我们可以将版画理解为:运用各种媒材和方法,通
过印刷手段制作出不同画面语言,且有一定印额的艺术形式。那么如果我们将不同版种特殊的
艺术语言理解成为一种“艺术符号”,则能更好理解干刻本身的“表象符号性”。
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天津美术学院造型分院版画系 2005 届硕士生毕业论文
关键字: 毛刺;艺术创作中的“符号”;特异性与直接性;表象符号性; PS 版与三氯化铁
From Artistic language to symbol
The method to analyze the Aesthetic feeling of Drypoint
[ZhangYi] ([intaglio prints making])
Directed by [FanMin]
Abstract:
The simplest method for producing intaglio prints is Drypoint, in which a sharp stylus or needle is
used to scratch lines directly into the metal plate (Copper plate\ Zinc plate \ Presensitized Plate and etc)
or the Plastic plate. The advantage of this technique is that the metal scrapings on either side of the
lines, known as the burr, hold a dense film of ink which prints as a rich, velvety black. In the
15th-17th century, Drypoint techniques has been developed from infancy to development by several
arts masters’ Attempted unceasingly. Until the 19th century, when, in a revolt against the mass
production characteristic of the age, artists often preferred to produce a small number of handmade
images rather than hundreds of identical ones, Drypoint again found favor, often bination with
other techniques. 19th century is one new importantly turning process is also popular with
20th century and contemporary artists.
When we take the burr’s impressions whi