论机械图像时代的绘画

发布时间：2018-05-16 03:45

本文选题：机械图像 + 绘画　；参考：《西安美术学院》2013年博士论文

【摘要】：西方绘画的主流以再现视觉真实为目的。而对视觉真实的追求也使得摄影诞生。以摄影为基础，摄像、电脑图像先后被发明。这些以机械方式捕捉和创造的图像，笔者在此统称为机械图像。机械图像的二维平面性和绘画相似，，因此它迅速的成为了绘画的重要参照系。它为写实绘画带来了新的生机。它捕捉到肉眼难以发现的景象。提供了准确的动态，并由于对动态的抓拍获得了碎片化的场景。照片特别为历史题材绘画提供了依据。摄影对视觉真实的呈现，将绘画从再现中解放出来，也冲击了绘画,改变了绘画的面貌。机械图像首先在传播信息的效率上远远高过绘画，同时机械图像通过对绘画的模仿，不断侵蚀着绘画的视觉效果领域。西方绘画主动和被动地寻求视觉和内在精神价值的转变。绘画的媒介性和平面性是绘画区别于其他艺术门类的重要特征。从印象派开始一直到抽象表现主义都体现了这样的发展线索。与此同时，绘画还突出了它的内在精神价值。情感的表达一直是一条古老的线索，在机械图像出现以后被强化了。一类绘画选择抵抗机械图像而出走，同时另一类绘画则全面地去表现机械图像，波普艺术和照相写实就是机械图像时代机械绘画的极致。机械图像出现后，艺术面貌的改变，加速了艺术观念不断更新。而哲学又对艺术界带来了思想的启发。机械图像削弱了技术和视觉效果对于绘画的重要性。又进一步加强了观念与艺术的这种结合。形式的简化伴随着观念的强化。观念运用得当使作品丰满，但是也必须警惕观念化的危险性。观念艺术的第一个问题在于哲学有替代艺术的危险性，而更重要的问题还在于它具有假大空的危险。艺术需要有耐人寻味的思想，但同时也需要物质支撑。身体常常作为思想观念的对应物而存在。机械时代的身体是被剥离自然的身体。而绘画让人的身体直接参与到对对象的把握中去。手工性使身体与实在相连。与实在的联系使我们在使用大众媒体的机械图像的时，需要警惕大众媒体的趋同性。机械图像有机械图像的优势，绘画有绘画的优势。本文并不站在绘画的立场一味否定机械图像；也不因为机械图像对绘画的冲击，而否定绘画在今天的存在价值。重要的是，我们需要明确它们各自的优势。绘画就是在探索自身价值的过程中，走向了强调媒介性、平面性、情感、对机械图像的全面模仿、观念化等等不同而又相互交叉的路线。在这些线索中，机械图像都是重要的参照系，绘画对其既有对抗也有借鉴。特别是对机械图像的借鉴，已是不可回避的事实。画家要使用却不依附机械图像。从而在机械图像时代，展现出绘画艺术的独特的价值和意义。
[Abstract]:The mainstream of western painting aims at reproducing visual reality. And the pursuit of visual reality also makes photography born. Based on photography, computer images have been invented. These mechanically captured and created images are collectively referred to here as mechanical images. The two-dimensional plane of mechanical image is similar to painting, so it quickly becomes an important frame of reference for painting. It brings new life to realistic painting. It captures a sight that is undetectable to the naked eye. Provides accurate dynamics, and as a result of the dynamic capture of the obtained fragmentation of the scene. Photographs provide a basis for historical paintings in particular. Photography shows the visual reality, liberates painting from reproduction, also impacts painting and changes the face of painting. At first, mechanical image is far more efficient than painting in spreading information. At the same time, mechanical image continuously erodes the field of visual effect by imitating painting. Western painting actively and passively seeks the transformation of visual and inner spiritual value. The medium and planarity of painting are the important characteristics that distinguish painting from other kinds of art. From the beginning of Impressionism to the abstract expressionism has reflected such a development clue. At the same time, painting also highlights its intrinsic spiritual value. Emotional expression has always been an ancient clue reinforced by mechanical images. One kind of painting chooses to resist the mechanical image and runs away, while the other kind of painting completely shows the mechanical image. Pop art and photographic realism are the extreme of mechanical painting in the era of mechanical image. After the appearance of mechanical image, the change of art appearance accelerates the renewal of art concept. Philosophy, in turn, brings inspiration to the art world. Mechanical images weaken the importance of technology and visual effects for painting. Further strengthened the concept and the art of this combination. The simplification of form is accompanied by the strengthening of ideas. The idea is used properly to make the work full, but we must also be aware of the danger of conceptualization. The first problem of conceptual art is that philosophy has the danger of replacing art, and the more important problem is that it has the danger of being false and empty. Art needs thought-provoking ideas, but it also needs material support. The body often exists as the counterpart of ideas. The body of the mechanical age is the body that is stripped of nature. Painting allows the body to participate directly in the grasp of the object. Craftsmanship connects the body to reality. Contact with reality makes us wary of mass media convergence when using mechanical images of mass media. Mechanical image has the advantage of mechanical image, painting has the advantage of painting. This paper does not blindly negate mechanical images from the standpoint of painting, nor does it negate the existence value of painting today because of the impact of mechanical images on painting. Importantly, we need to identify their respective strengths. Painting is in the process of exploring its own value, towards the emphasis on the media, planarity, emotion, the overall imitation of mechanical images, conceptualization and other different and intersecting routes. Among these clues, mechanical images are important frame of reference, painting has both antagonism and reference. Especially for the reference of mechanical images, it is an unavoidable fact. The artist uses but does not attach mechanical images. Thus, in the mechanical image era, the unique value and significance of painting art are displayed.
【学位授予单位】：西安美术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J205

【共引文献】