一种可读的风景—《再风景》系列主题创作报告

发布时间：2018-09-03 08:52

【摘要】：相比西方传统绘画史上单纯“自然”再现的观点,当代艺术史范畴下对风景画的界定已步入一个新的阶段。“风景”在视觉研究领域作为一个相当庞杂的课题,涉及的学科不仅仅拘泥于艺术史,还牵涉地理学、社会学、地缘政治学、生态学等多个学科,但更重要的是,“风景绘画”作为一种视觉经验的体现,在当代语境内,以一种“可解读”的文本存在。将文化史和创作者的个人体验引入风景画的创作过程,是本文的立意来源。本文通过对近些年发表的国内外相关学术材料阅读及分析,试图解释“风景”在当代语境下,与其他学科交叉发展下的全新定义。笔者将毕业作品取名为《再风景》,目的是想改变“再”一词副词的属性,赋予它一种“回归”的趋势概念,再一次回归到对风景画的解读上。在绘画技法已高度发展的今天,当代语境下的架上绘画在艺术领域也早已不是一种主流。对风景画再写生再创作的意义,其实也是想通过它,重返绘画这一艺术根本。另外,在摄影技术相当成熟的当下,风景的写生,不单单是创作者对场景绘画性地再现行为,更是创作者融入场景,再感知风景的过程。文章针对系列作品《再风景》绘画语言的讨论,创作手法的选择,为风景绘画设置一个可突破的当代出口。文章将从风景与人的关系;风景画中的场所和空间;作为自然的风景画这三个方面,对应本人具体的作品以及创作过程,用以探讨风景题材在个人创作经验中的意义。同时,在融入个人体验的同时,试图向观者阐明图像之外的,一个丰富的人文景观。最后,从风景与记忆,风景与权力两个关注点来进一步挖掘风景画在当代语境下的不同之处。前者讨论作为创作者,个人记忆和视觉文化之间的关系及其于历史学领域的含义,主要体现为,写生的过程实际上也是一个回忆的过程。经由画布表达创作者脑海中筛选出的深刻记忆点,才赋予作品合理的解释;后者用以讨论创作者的视角下,应该如何避免风景画写生过程中过分主观性的偏差,针对对象,应该采用如何的观察方式。身为创作者同时,在写生过程中带入自己的体验感,使得自身也成为风景的一部分。
[Abstract]:Compared with the view of simple "natural" representation in the history of western traditional painting, the definition of landscape painting has entered a new stage in the field of contemporary art history. It is more important to study many subjects, but more importantly, "landscape painting" as a reflection of visual experience, in the contemporary context, with a "interpretable" text. The introduction of cultural history and the author's personal experience into the creative process of landscape painting is the source of this article. This article through the published in recent years at home and abroad related academic. Reading and analyzing materials, the author tries to explain the new definition of "landscape" in the contemporary context and interdisciplinary development with other disciplines. The author named the graduation work "re-landscape" in order to change the attributes of the adverb "re" and give it a "return" concept of the trend, and return to the interpretation of landscape painting. Skills have been highly developed today, the contemporary context of easel painting in the art field is no longer a mainstream. The significance of landscape painting re-creation, in fact, is to return to painting through it, the art of basic. In addition, photography technology is quite mature, landscape painting, not only the creator of the scene painting. This article aims at the discussion of the painting language of the series of works and the choice of the creative methods, so as to set up a breakthrough contemporary outlet for landscape painting. At the same time, it tries to explain to the viewer a rich humanistic landscape besides the image. Finally, it further excavates the landscape painting from the two points of view and memory, landscape and power. The former discusses the relationship between personal memory and visual culture as a creator and its implications in the field of history, mainly reflecting that the process of sketching is actually a process of recall. The latter is used to discuss how to avoid the excessive subjective deviation in the process of landscape painting from the perspective of the creator, and how to observe the object.
【学位授予单位】：新疆师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J204

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