【作者】 方芳；

【导师】 陈建辉；

【作者基本信息】 东华大学 ， 服装设计理论与应用， 2010， 硕士

【摘要】 整个20世纪发生的重大事件及其给我们生活带来的巨大变化令我们目不暇接,其中,电脑网络与数码技术给我们带来的冲击尤为明显,并且,随着数码技术广泛深入至人们生活的各个层面,时装插画,这一古老而又独具内涵的绘画艺术形式焕发出全新的生机与活力,这是在20世纪中期摄影技术高速发展的背景之下,完全无法想象与预见的一幕。在20世纪初期至20世纪中期的这段时间内,时装插画发展迅猛,并随之捧起了一批享誉全球的时尚插画家,他们所创作的时装插画风格迥异,争奇斗艳,较之20世纪之前的时装插画而言,显得极富于创新性和观赏性,可以说,这段时期是时装插画的黄金时期。然而,在摄影技术逐渐崭露头角后,时装插画一步步面临着瓦解与崩溃的境地,甚至在很长的一段时间内,时装插画仿佛己销声匿迹。然而,正是因为七、八十年代以来计算机技术的发展,时装插画得以重生。并且,新兴数码技术与已有的绘画手法相结合后,产生了较之20世纪早、中期来说更具视觉冲击、更加富于现代感的时装插画,因此,我们由此可以大胆预见,时装插画在未来发展中将会更加丰富多元、多姿多彩。时装插画由古至今发展而来,一直是深受广大群众喜爱的大众艺术,它不仅具有极高的艺术审美价值,也具有较深的历史认知价值,但是却一直未受到应有的重视,只是作为大众文化传播的一份子而微小的存在着。虽然优秀的时装插画作品颇多,但是对其艺术风格进行专门而系统的梳理与研究并不多见,可以说,其理论研究始终落后于其创作实践,因此,该论文专门针对此点进行详细的理论研究,从历史的角度去考察、分析、论证,并得出结论,这将有助于我们全面洞察和把握时装插画艺术风格的未来发展,以期为时装插画的理论研究领域添砖加瓦。本研究将主要探讨关于20世纪时装插画艺术风格在其初、中、后期发生了现代创新,但却又有历史继承这一主要内容。并且研究发现,时装插画艺术风格大致可分为装饰艺术风格类型,简约艺术风格类型,魔幻艺术风格类型,现实艺术风格类型,手绘艺术风格类型,数码艺术风格类型,动漫艺术风格类型,涂鸦艺术风格类型、新古典艺术风格类型,后现代艺术风格类型。其后,通过对这些时装插画艺术风格的继承与创新进行详细的比对与研究,梳理其脉络,规整其内容,系统完善且一目了然地把研究成果以图文并茂的形式呈现出来,这便是本论文研究的意义与重点所在。更多还原

【Abstract】 The 20th century was the one where more amazing happened. Among them, the computer network and digital technology should be the most surprising ones, which were changing the way of people’s life quietly. As the digital technology almost touched every aspect of people’s life in depth, fashion illustration, an ancient and extremely charming form of drawing art, was bringing out its brand-new vitality and energy, which was unpredictable and more than what you can imagine after the Photography Technique was born in the mid-twentieth century.Form the period of early twentieth to the mid-twentieth century, fashion illustration was developing rapidly and many famous fashion illustrators made themselves known to the world. They illustrated the fashion with their own unique styles, which is more impressive and creative comparing with the former ages before the twentieth century. Obviously, this period reached the peak of fashion illustration. Then, fashion illustration was put in a corner when photography technique made the acquaintance of the world, even in a long time, it went away from us.Fortunately, taking advantage of the development of computer technology in 70s and 80s, fashion illustration gained its rebirth. When former style of drawing combined with the newly developing digital technology, the fashion illustration, with stronger visual impact and sense of modern than the early and mid twentieth, was stepping towards us. All of these made us believed fashion illustration would be more rich and diversified than ever before in future development.As a popular art, Fashion Illustration is welcome by the public throughout its growing. Combining extremely high artistic aesthetic value and profound historical perceived value, Fashion illustration however is not respected as it should be, but only performed as a spreading part of public art. On practice, there are mass excellent works of Fashion Illustration around us. On theory, few people dedicate to the specific induction and scientific study towards different artistic style. This paper aims at contributing to strengthening the theory study of Fashion Illustration. From a historic perspective, the investigation, analysis, demonstration and conclusion in the paper, will certainly help us make a comprehensive insight and grasp the future of Fashion Illustration.The study mainly explores the distinct evolution including succession on the style of fashion illustration art among the early, mid, late stage of the twentieth century. Research shows styles of drawing art can be divided into art decoration style, simple artistic style, artistic style of magic, the reality artistic style, hand-painted art style, digital art style, classical art style, post-modern artistic style, artistic style of cartoon animation, street art graffiti style and etc. Since then, through the detailed comparison and research on the inheritance and evolution of the artistic styles of these fashion illustrations, the paper combines the context and structures the content on the purpose of presenting readers the result of the research by words in a plain view.更多还原