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本文选取了贵州省黔东南的苗族蜡染为代表,从蜡染图案的寓意角度与西方立体画派的风格关系进行研究,探寻苗族蜡染独特的艺术内涵与价值。苗族蜡染图案种类繁多,风格各异,不拘一格,使得苗族蜡染艺术蒙上了一层神秘的面纱。通过对贵州黔东南苗族蜡染图案与西方立体画派绘画的代表人物毕加索的绘画风格进行研究,结合相关文献的参考,并亲自前去苗族蜡染之乡了解和体会真正的民间蜡染图案蕴意,探究苗族蜡染图案的形成发展和西方立体画派的抽象主义的思维空间构成关系。从而挖掘出苗族蜡染图案与西方立体派绘画的艺术空间和风格关系,以达到对苗族蜡染图案的艺术研究最高结合点。以便让更多的人了解和接受蜡染,并掌握苗族蜡染图案的一定寓意,为中国当代的民族民间文化及蜡染手工艺发展开辟道路。
This paper selects the Miao batik from Qiandongnan Prefecture of Guizhou Province as the representative, studies the relationship between the style of the batik pattern and the style of the Western Cubist School, and explores the unique artistic connotation and value of the Miao batik. Miao batik patterns varied, different styles, eclectic, Miao batik art cast a mysterious veil. Through the research on the painting style of the Miao batik patterns in Southeast Guizhou Province and Picasso, the representative of western three-dimensional painting, combined with the reference of related literatures, I went to Miaobian Batik Township to understand and appreciate the true meaning of folk batik patterns, The formation and development of the Miao batik patterns and the abstract space of Western stereoscopic painting constitute the relationship between thinking space. Thus, the relationship between the art of batik patterns in the Miao nationality and the Western Cubist paintings was explored in order to achieve the highest combination of artistic study on the batik pattern of the Miao people. In order to let more people understand and accept the batik, and mastered the blessing of the Miao batik motif, to open the way for the development of contemporary Chinese folk culture and batik crafts.