像与象—西方肖像画的时代性刍议

发布时间：2018-10-05 07:33

【摘要】：西方肖像画有着悠久的历史，从最初依附于宗教画而存在，到最后与之分离形成一个独立的画种。此后在漫长的发展过程中，逐步形成了多种流派与风格。一幅优秀的肖像作品，是对表现对象的个性特征和内心世界最富典型意义的写照，应该具有独特的艺术魅力，并能引起观者的共鸣、打动人心。所以说，那些具有不朽艺术生命力的肖像画之所以能够流传千古就不足为奇了。可是要达到这样的艺术水准，画家除了要具有高超的表现技巧还要求画家在创作的过程中能够深入表现对象的内心世界，与之共鸣，与之交感，从而使得创作得到升华。也就是说，肖像画除了要具备表面生理之“像”还要求表现内在精神之“象”。但是不同时期的肖像画其所表现的侧重点又有所不同，这就要求要站在肖像画发展的时代性的角度去观赏和分析。传统的肖像画主要是为宗教以及统治者服务的，受“模仿论”等哲学思想的影响以及肖像画的功利性和记录性的功能，从文艺复兴以后到19世纪之前的肖像画都是以再现人物面部特征为主要手段。当然，一幅优秀的肖像画，要想得到人们的赞赏，除了“像”更重要的一点还要传达情感。第二次工业革命后，照相机的出现，使得肖像画那种镜子般的写实感被取代。这时的肖像画不再是钦命或订件，艺术家们也不再去刻意的表现上帝、宗教和神，而是从生活出发，更多的变成了宣扬自我、追求个性、创造新形式、表达新内容以及近乎疯狂的个人体验和精神选择。他们不断的去挖掘与人最相关和最根本的东西，甚至脱离了物质生活的形式。这时，肖像画中的“像”已变得不那么重要，重要的是他们所表达的内容。西方现代肖像画把艺术作品的创造性提高到了空前的高度，并且不遗余力的追求艺术的纯粹性，极具个性的作品与传统肖像画中那种极力迎合赞助人品味的受命之作形成了鲜明的对比。 20世纪60年代后人们对文化消费品的需求量激增，，整个社会开始进入到大众文化发展时期。宽松的政治环境，高等教育的普及，社会财富的不断积累，都为西方当代艺术的多元化发展提供了广阔的空间。当代肖像画中的“像”与“象”是混杂的，既有纯粹不表达任何的情感的机械性描摹，也有对当代人性的精神思考，我们不能说更偏向于哪一个，但是我认为当代肖像画更能与人们所处的时代相拼接，它更多的是个人在自我体验和个性化的形式之下表达出来的人们的生活困境和精神疑惑。
[Abstract]:Western portraits have a long history, from the initial dependence on religious painting and existence, to the final separation from it to form an independent kind of painting. Since then, in the long process of development, gradually formed a variety of schools and styles. An excellent portrait works is the most typical portrayal of the personality characteristics of the objects of expression and the inner world. It should have unique artistic charm, and it can arouse the sympathy of the viewers and move the hearts of the people. So it is not surprising that portraits with immortal artistic vitality can be spread forever. However, in order to achieve such an artistic standard, the painter should not only have superb performance skills, but also require the painter to be able to penetrate into the inner world of the object of expression in the process of creation, to resonate with it, and to interact with it, thus making the creation sublimated. That is to say, the portrait should not only possess the physiologic image, but also the inner spirit. However, the emphasis of portraits in different periods is different, which requires viewing and analyzing from the perspective of the development of portraits. Traditional portraits are mainly for the service of religion and rulers, influenced by philosophical ideas such as "imitation theory", as well as the utilitarian and recorded functions of portraits. Portraits from the Renaissance to the 19 th century are mainly used to reproduce the facial features of the characters. Of course, a good portrait, in order to get people's appreciation, in addition to the "like" more important point, but also convey emotion. After the second Industrial Revolution, the advent of cameras replaced the mirror-like realism of portraits. At this time, the portraits are no longer predestined or ordered, and artists no longer deliberately express God, religion and God, but from the point of view of life, more become preaching themselves, pursuing individuality, and creating new forms. Express new content and almost crazy personal experiences and spiritual choices. They constantly dig for the most relevant and fundamental things, even out of the form of material life. At this time, the portrait of the "image" has become less important, the important thing is what they express. Western modern portraits have raised the creativity of works of art to an unprecedented height, and spared no effort to pursue the purity of art. The highly individualized works are in sharp contrast to the traditional portraits that cater to the tastes of the patron. After 1960's, people's demand for cultural consumer goods increased sharply, and the whole society began to enter the period of mass culture development. The loose political environment, the popularization of higher education and the accumulation of social wealth provide broad space for the diversified development of western contemporary art. The "image" and "elephant" in contemporary portraits are mixed. They are not only mechanically depicted without expressing any emotion, but also have spiritual thinking about contemporary human nature. We cannot say which one is more biased. But I think contemporary portraits can be more connected with the times people live in, it is more personal in the form of self-experience and personalized expression of the plight of people's lives and spiritual doubts.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J211.25

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