論科爾沁版畫(huà)創(chuàng)作的地域特征.pdf

1、 Shanghai Normal University Master of Philosophy Abstract II Abstract As the research object, Kerqin prints is a type of printmaking genre formed in Kerqin reg

2、ion of Inner Mongolia. It is not only an important part of Chinese ethnic minority engraving art, but also an important cultural and artistic representation of unique ethnic customs and folk culture in Kerqin region. On

3、the other hand, Kerqin prints is developed with Zhelimu prints after 1999, when league, the administrative division of Inner Mongolia Autonomous Region was transformed to city corresponding to its prefecture. With the di

4、stinctive artistic features, Kerqin prints has earned a well-known reputation as glory of Kerqin grassland in the Chinese art circle due to its powerful, grand, elegant and simple features. Hence, materials of Kerqin pr

5、ints are mainly selected from representative samples within Tongliao city, including Kerqin District, Naiman Banner, Jarud Banner and other regions. What’s more, it is precisely because of its materials stemming from pro

6、duction and livelihood of the Mongolian people that Kerqin prints sents out a strong regional, ethnic, and artistic breath. Through the research, Introduction, the first chapter of this thesis, mainly describes reasons f

7、or the choice of topic, research status, and main contents of this thesis, etc. While in Chapter Two, this thesis focuses on the rising background of Kerqin prints, the general situation of its development, and also the

8、historical development of Kerqin is teased out. In addition, Chapter Three tells about the artistic style, regional and ethnic characteristics of Kerqin prints, which facilitates the artist’s achievements in unique aesth

9、etic and artistic value. Furthermore, in the fourth part of this thesis, different genres, including Academic engraving, Zhanjiang engraving, Beidahuang engraving, and Yunnan engraving are contrasted with Kerqin prints r

10、espectively. On this basis, taking prints by several representative Kerqin artists as the starting point, this thesis makes an in-depth study on their subject contents so as to highlight artistic features, aesthetic valu

11、e, and representation of regional features. Last but not least, the final chapter explores the current situation and the present problem it faces in the development of Kerqin modern prints. The results show that Kerqin