浪漫主義思潮與銅版畫發展研究－－銅版畫的表現語言和技術演進

Romanticism and Development of Chalcography - Language of Expression and Evolution of Techniques

銅版畫從古代的印刷科技演變成為今天的藝術創作媒材，作為關鍵時期的浪漫主義運動扮演了重要角色。經十八世紀末至十九世紀上半葉學院派的改革，使具有應用性質的複製版畫達到顛峰，這個高峰因為機械複製技術的革新而逐漸衰退，與此同時，創作本質的銅版畫進入另一個里程碑。本研究在於探究銅版畫與浪漫思潮的互動關係，以及銅版畫語言與技術的演化。全文分為四部分，第一部份分析版畫的美學和浪漫運動背景。第二部分從學院派複製版畫與藝術家創作版畫並存的矛盾現象，論述銅版畫轉變的過程。第三部分解析銅版畫的創作題材和表現語言，以哥雅、德拉克洛瓦、夏舍里奧、布雷克、布列士丹、南特伊為例。第四部分討論銅版畫技法的創新和質感表現。最後，歸納出此階段銅版畫呈現的自由創作特徵乃現代版畫的起點。

The movement of Romanticism has played a key role in the transformation when chalcography developed from a printing technology into a creative medium. The academic reform movement brought gravure of reproduction to its peak in the 18(superscript th) and 19(superscript th) centuries, but the advance of mechanic reproduction also brought this trend to its downhill. Meanwhile, gravure of liberality passed a new milestone. This essay explores the interaction of Romanticism and chalcography, and the evolution of its expression and techniques. The first section analyzes the esthetics and background of Romanticism. The second section elaborates the transformation of chalcography from the paradox caused by the co-existence of academic gravure of reproduction and artistic gravure of liberality. The third section analyzes the creative themes and language of expression from the works of Goya, Delacroix, Chass?riau, Blake, Bresdin, and Nanteuil. The fourth section discusses the creativity and material in the techniques of chalcography. This essay concludes that the liberality in chalcography is the departure of modern print.