论误读在绘画创作中对“物”的认知价值
发布时间：2018-08-26 20:09
【摘要】：绘画创作是一个创造的过程,艺术家首先形成自己的意图或观念,然后借助于绘画行为将经验中或现实中的客观事物改造成与意图或观念相符合的状态,最后外化在某种物质载体当中。经验在人类历史上有很长的历史,艺术家的绘画创作离不开创作主体对经验的把握,进而利用经验对创作客体“物”进行解读。在经验背景下,艺术家对“物”的解读过程中也会产生误读。这种误读与原本对“物”的解读具有不可调和性,但误读丰富了“物”的本体价值,为我们的艺术创作提供了更多的可能性。本文结合了具体的艺术家的绘画创作过程,通过文献研究法,了解绘画创作,并重新定义绘画创作中经验、误读和“物”的概念。经验与“物”在哲学史上一直都是哲学家探讨和研究的命题,将误读置入绘画创作的命题中,则凸显出它们三者独特的可能性。关于误读与“物”,国外的研究文献较多,而国内则相对来说匮乏些。本文最后得出的结论是:由于经验在绘画创作中具有了可实践性和可操作性,对“物”的误读促使艺术家重新给“物”下定义,增加了“物”的概念,同时丰富了“物”的本体价值,最终使我们更接近于“物”的真实。对于绘画创作来说,却也不是所有的经验对“物”的认知都是有价值的。本文一共分为四个部分,第一部分概述了经验与“物”的概念及重新思考,将绘画创作中的经验分为身体经验和心理经验。第二部分论述了经验对“物”的解读与误读的概念及生成,通过艺术家的艺术作品探讨不同的经验对“物”的解读,并由此产生误读。第三部分描述了误读所导致的结果,并不全盘批判误读,而是探讨误读的可能性。第四部分则描述了如何利用误读,即误读在绘画创作中的价值。艺术的本质即真理,艺术家的经验对“物”产生误读时,同时也使我们更接近于艺术的本质。
[Abstract]:Painting creation is a creative process in which the artist first forms his own intention or idea and then transforms the objective thing in experience or reality into a state consistent with the intention or idea with the help of painting behavior. Finally externalize in some kind of material carrier. Experience has a long history in human history, the artist's painting creation can not be separated from the master of experience, and then use experience to interpret the object of creation "thing". Under the background of experience, the artist will misread the object. This misreading is irreconcilable with the original interpretation of "thing", but it enriches the Noumenon value of "thing" and provides more possibilities for our artistic creation. This paper combines the process of painting creation of specific artists, through literature research, understand painting creation, and redefine the concepts of experience, misreading and "object" in painting creation. In the history of philosophy, experience and "things" have always been discussed and studied by philosophers. Putting misreading into the proposition of painting creation highlights their unique possibility. There are many researches on misreading and object in foreign countries, but there are relatively few in our country. The final conclusion of this paper is: because experience has practicability and maneuverability in painting creation, the misreading of "thing" urges the artist to redefine "thing" and add the concept of "thing". At the same time, it enriches the Noumenon value of things, and finally brings us closer to the truth of things. For painting, not all experience is valuable to the cognition of things. This paper is divided into four parts. The first part summarizes the concept and rethinking of experience and "thing", and divides the experience of painting into physical experience and psychological experience. The second part discusses the concept and generation of the interpretation and misreading of "things" by experience, and probes into the interpretation of "things" by different experiences through the artists' works of art. The third part describes the result of misreading, not criticizing misreading completely, but exploring the possibility of misreading. The fourth part describes how to use misreading, that is, the value of misreading in painting creation. The essence of art is truth. When the artist's experience misreads things, it also brings us closer to the essence of art.
【学位授予单位】：鲁迅美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J204
本文编号：2206023
[Abstract]:Painting creation is a creative process in which the artist first forms his own intention or idea and then transforms the objective thing in experience or reality into a state consistent with the intention or idea with the help of painting behavior. Finally externalize in some kind of material carrier. Experience has a long history in human history, the artist's painting creation can not be separated from the master of experience, and then use experience to interpret the object of creation "thing". Under the background of experience, the artist will misread the object. This misreading is irreconcilable with the original interpretation of "thing", but it enriches the Noumenon value of "thing" and provides more possibilities for our artistic creation. This paper combines the process of painting creation of specific artists, through literature research, understand painting creation, and redefine the concepts of experience, misreading and "object" in painting creation. In the history of philosophy, experience and "things" have always been discussed and studied by philosophers. Putting misreading into the proposition of painting creation highlights their unique possibility. There are many researches on misreading and object in foreign countries, but there are relatively few in our country. The final conclusion of this paper is: because experience has practicability and maneuverability in painting creation, the misreading of "thing" urges the artist to redefine "thing" and add the concept of "thing". At the same time, it enriches the Noumenon value of things, and finally brings us closer to the truth of things. For painting, not all experience is valuable to the cognition of things. This paper is divided into four parts. The first part summarizes the concept and rethinking of experience and "thing", and divides the experience of painting into physical experience and psychological experience. The second part discusses the concept and generation of the interpretation and misreading of "things" by experience, and probes into the interpretation of "things" by different experiences through the artists' works of art. The third part describes the result of misreading, not criticizing misreading completely, but exploring the possibility of misreading. The fourth part describes how to use misreading, that is, the value of misreading in painting creation. The essence of art is truth. When the artist's experience misreads things, it also brings us closer to the essence of art.
【学位授予单位】：鲁迅美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J204
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，本文编号：2206023
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