纺织的维度论雅科达·布伊奇的壁挂艺术-雕塑专业论文.docx

2 2 . 中罔荧术学院·雕塑系·李匈.(编织的雄魔……始推科达·布伊帘的黯拴艺术》 摘要 在当代一些艺术展览中曾随处可见各种展现形式的纤维艺术作 品，显而易见这门艺术在当今已变得十分重要且极为活跃.但是，如 果追溯纤维艺术的发展过程，从传统的壁挂编织到如今的当代纤维艺 术，不论是形式还是内容，材料还是技法都经历了漫长的转变过程. 前南斯拉夫女艺术家雅科达·布伊奇 (Jagoda Buic1930斗曹她用自 己的艺术语言重新塑造并拓展了壁挂艺术，或者说赋予壁挂以纤维艺 术的含义，作为上世纪六..c十年代纤维艺术的先锋人物，她对纤维艺 术的贡献不可磨灭. 雅科达·布伊奇的作品模糊了手工艺与艺术之间的界限，那些用 纤维材料展现的不同肌理语言，通过软性材料承载别样的艺术思想. 对于文化传统，她采用借鉴和发展的策略，这使她的作品底蕴深厚， 且带有鲜明的个人艺术风格.她使斯拉夫民族的民间艺术得到了重 生，并散发出新的光辉，成为世界性的艺术形式。舞台服装布景设计 的经验，给她的艺术作品带来无穷的创作源泉，也深深地影响了她的 壁挂作品.她创新性的浮雕壁挂以及三维壁挂，使壁挂摆脱了长时期 依附于墙壁和平面绘画复制品的命运，有了新的艺术形式，使这门古 老的艺术焕发了新的生机. 本文从编织的语言与维皮阐述雅科达的壁挂艺术，探讨她在壁挂 艺术创作中与材料、与传统、与内心的交流和碰撞，探寻她在壁挂艺 中国荧术学盹·雕塑系·李匍.(编织的维庭一一论雅将达·布伊裔的攘技艺术》 中国荧术学盹·雕塑系·李匍.(编织的维庭一一论雅将达·布伊裔的攘技艺术》 术发展和研究道路上的成功经验及伟大成就，进而挖掘纤维艺术未来 发展的无限可能性. 【关键词]:编织、传统、空间、材料、解构 r 、 3 中国美术学院·雕塑系·李匍.(蝙织的锥度一一论雅科达·布伊奇的壁挂艺术》 中国美术学院·雕塑系·李匍.(蝙织的锥度一一论雅科达·布伊奇的壁挂艺术》 4 4 Abstract TheF如er Art is presented by various forms at the exhibitions of ωIntemporary arttω邮 It is obvious th础 the Fiber Art is playing a v町 impo刷刷 and extremely active role at the stage of art. However，if we 衍ace the development of Fiber Art， from traditional tapestry to ∞ntemporary Fiber Art， whether we refer to form orωntent，阳 materials or techniqu邸， we will find out 由at it has gone through a long prl 侃S of change. The former Yugoslavia woman artist Jag创l a Buic (1930 ? ) reshaped and expanded the tapestry by her own artistic language and renamed 趾协 Fiber Art. We wont forget her indelible ωntribution 幽 a Fiber Art pioneer of the sixties and seventies. The boundariωbetween hand αaft and art were blurred by Jagoda Buics art works. 叽le different fiber materials were expressing different language. A different kind of artistic thought w踊 bom by the 80ft materials. She adopted the policy of reference and development for ωltural heritage，which made her art works to have a profoundωnnotation 创d a distinctive personal style. The Slavic folk art w础 rebom by her hand. Not only it gained its glory again but also became a worldwide art form. Her previous experience