【作者】 陈淑君；

【导师】 潘耀昌；

【作者基本信息】 上海大学 ， 美术学， 2013， 博士

【摘要】 以亨里克托马谢夫斯基（Henryk Tomaszewski,1914—2005）为首的十几位波兰招贴设计师，他们风格不一、各具艺术创作特色，但都是在20世纪50年代到60年代中期达到各自的创作顶峰，创作出曾被誉为世界招贴史上最具艺术价值的招贴。西方设计界将他们统一称为“波兰招贴学派”（Polish Poster School，以下简称为波兰学派），受到学界普遍的肯定和赞扬。波兰学派的招贴以充满绘画性，波兰民族特性（继承了民间艺术中的线条、色彩），设计师个性、幽默和幻想著称，其中尤以戏剧招贴艺术价值最高，成为该学派后期艺术招贴（Artistic Poster）的代表。言简意赅的绘画结合隐喻的图像修辞（Rhetoric of the Image）使这些戏剧招贴呈现出有别于一般设计或绘画的独特面貌，表明这些招贴的作者在平面设计和绘画（手绘）之间得心应手、游刃有余。波兰学派的招贴显著影响到世界招贴艺术的发展，其最大贡献就是，借助巧妙的暗喻实现招贴的信息传递和宣传劝诱的功能，这远胜于强化感官刺激造成的冲击性影响力。尤其值得注意的是，波兰学派的设计师们善于运用来自民间艺术的表现手法，例如，鲜艳强烈的色彩，流行的符号，具有个性化、书法味的手写文字。这种文字与图像的混合物产生出一种特殊的魅力。除了形式美之外，这些招贴还能够透露出设计师置入戏剧主题的情绪，有时是对主题和情节的直白描绘，但更多的是隐含对主题、情节的诠释和社会的评价。本论文将系统地介绍这些波兰设计师的戏剧招贴作品，以较充足的文献和图像资料为依据，探讨它们成为“世界招贴艺术皇冠上之宝石”的原因，并凸现其在平面设计界的突出地位。作者在和波兰波兹南国立博物馆招贴部主任、著名招贴研究学者舒伯特（Zdzis aw Schubert,1949——）先生讨论本文选题时，他认定这个题目在招贴研究领域尚属初次，具有开拓性。此外，本文还将从符号、修辞、图像等角度解读波兰画派的戏剧招贴，揭示这些招贴作为信息传达工具所借用的各种手段，并从形式分析角度评价这些以手绘为创作方法的招贴的画面构成，多角度地挖掘波兰学派戏剧招贴的艺术价值、美学价值和社会价值。更多还原

【Abstract】 Led by the world-famous designer Henryk Tomaszewski（1914—2005），adozen of Polish poster designers all reached their summit in the1950s-mid-1960s,although they did not share the same artistic style, each had their own characteristics.They had created works counted among the most valuable posters in the history.These poster designers were honored as "Polish Poster School" by the academiccircles and gained widely affirmation and praise. Their posters are famous for thedesigners’ character, humor and fantasy, among them the theater posters areparticularly splendid which have the highest aesthetic value and to be the mainsource of Artistic Poster. Polish Poster School merged the aesthetics of painting andthe succinct, simple metaphor in the poster. Painterly style, lively colors and linearquality combined with creative use of sense of individualism and humor were adistinguishing feature of this stream. The Polish poster designer was able to effacethe line of distinction between himself and a traditional artist. Polish poster art hadsignificant role in development of the world poster graphic design. Its majorcontribution was a new power of suggestion through use of clever allusions, conciseand inventive metaphor. Printed slogans, often hand-lettered and highlighted withstrong and vivid colors inherited from folk art, were combined with popular symbols;this characteristic hybrid of words and images created a certain aesthetic tension. Inaddition to aesthetic dimension, the Polish poster conveyed clear emotionalinvolvement of the artist, who was no longer merely an objective observer butinstead openly presented his own interpretation and commentary on the subjectmatter.This paper will introduce systematically the theater posters of Polish Poster School(as well as I know, this is the first time in academic circles) discuss them as "theCrown Jewels" on the basis of relatively adequate literature and image data andhighlight their prominence in graphic design. I also interpret these posters from theaspects of symbol analysis, rhetoric and iconology to real the means through whichthe posters complete the task as a kind of information transmission media, estimatethe worth of composition of these painterly poster through form analysis and tapPolish Poster School’s artistic value, aesthetic value and social value from multipleperspectives.更多还原