浅析达达、超现实主义图像创造方法在中国当代绘画创作中的应用及影响
发布时间：2018-11-15 13:24
【摘要】：达达、超现实主义作为西方现代艺术史上的重要文艺运动,其艺术观念对推动之后艺术的进程起到了重要作用,同时其丰厚的视觉文化遗产对中国当代艺术的创作产生着重要的影响。通常在艺术史中,达达与超现实主义在很多情况下被并置起来,作为一对联系紧密的运动来进行描述。这是因为二者产生的时间、历史动机、参与者都有重叠、联系,更为重要的是二者的理念有重要的共同关系,超现实主义是在达达的基础之上发生发展起来的。达达和超现实主义所倡导的理念从根本上而言都是非理性的。达达主义对非理性的追求和对旧有审美传统的破坏为超现实主义铺平了道路。但是,达达的非理性主要表现为一种玩世不恭的攻击象征,达达主义的行动标准破坏一切,否定一切,打到一切。甚至达达对自身所做的事情也持一种既否定又肯定的矛盾态度,所以达达最终沦为了一种精神的虚无状态。虽然超现实主义以达达非理性为基础,但是相比之下,超现实主义则显得更加系统,有自己清晰的目标。超现实主义的非理性更加集中与对个体精神解放和潜意识的开发,超现实主义对个体精神颇感兴趣,而达达主义者却祈盼获得一种完全独立的力量。超现实主义者常常把自己的作品看作是精神错乱者的艺术,而达达艺术家的作品又常常显得戏谑和幽默。不论达达拼贴、照片蒙太奇,还是超现实主义油画、摄影,二者非理性的基调以及思想处于不受支配的自由活动状态奠定了达达和超现实主义作品“空间关系的错位和非现实性以及视觉感受秩序的非逻辑性”的语言特征。本论文的目的在于集中从图像角度去分析、归纳达达、超现实主义的视觉艺术资源,并且能够具体而微的分析总结出若干达达、超现实主义作品图像创造方法和图式特征。通过对主要艺术家作品的分析,归纳出了五类图像创造方法,包括1:碎片并置与困惑组合、2:陌生化熟悉事物、3:制造真实与非真实疑问、4:制造多重图像、5:制造空间幻觉。在这些图式特征的归纳基础上,通过与大量的当代艺术作品对比分析,这些图像创造方法对当代艺术家的影响非常广泛,不仅包括像钟飙、张晓刚、曾梵志这样具有代表性的当代艺术家,也包括许多年轻的艺术家。这些艺术家不约而同的借助达达、超现实主义的图式特征来实现自身想象、情感、观念以及时代气息的表达。尽管在达达、超现实主义艺术家看来作品的技巧无关紧要,观念和精神的探究才最重要,但从当代绘画作品面貌看,达达与超现实主义所追求的理念和内在精神并没有在当代绘画的语境下发挥多少效应。反倒是两场艺术运动留下的丰厚视觉资源本身对当代绘画创作产生了直接影响。达达与超现实艺术家们的拼贴、摄影和绘画作品,它们作为视觉资源,被当代绘画创作反复挖掘和运用。诚然,达达与超现实主义艺术的创作与其内在观念是紧密关联的,二者都有关于美学的、社会学的、心理学的明确指向,然而,如果仅从视觉表象的角度来分析制造那些具有鲜明特征的图像似乎仍然有章可循,因此本文从图像创造方法的角度分析罗列了五个主要的点。通过分析诸多的当代艺术作品案例我们发现,达达与超现实主义对当代艺术的创作具有非常广泛的影响,但很多时候以更加单纯的方式对当代艺术家的创作施加影响,这种影响有时候与其艺术观念无关,而是仅仅作为视觉表象,以图式的方式进行。从创作者的角度去考虑的话,不论是主动或自然而然的采用这些图像模式,这样的视觉参照已成为艺术家驾轻就熟的行为,很多时候是天经地义顺理成章的结果,就像印象派之后,人们天然的会改变用色方式一样,这种影响已成为新的日常。由于达达与超现实主义作品在非逻辑的基础上兼具可识别的图像特征,加之中国学院艺术教育的写实主义倾向,所以,达达与超现实主义就成为中国当代绘画进行新试验的折中式选择。同时,80年来以来,中国社会经历的剧烈的变化产生了各种不确定因素和复杂性,这种现实因素也是促使达达与超现实主义在中国艺术创作中受到特别亲睐的原因之一。然而,中国的现当代艺术并不是对西方现代艺术的一种充分理解,而是一种工具性的借用。因此,中国当代绘画更多的是借用达达和超现实主义的图像创造方法来表述自身的观念。而中国的艺术家们在借用达达、超现实主义的图式的时候,逐渐开始自觉站在中国的立场上,面对自身问题注入了他们自身的感受和自我表达。
[Abstract]:As an important literary and artistic movement in the history of modern art in the West, it has played an important role in the process of promoting the post-modern art. At the same time, its rich visual and cultural heritage has an important influence on the creation of Chinese contemporary art. In the art history, Dada and Surrealism are, in many cases, put together and described as a pair of closely-connected movements. This is because both the time, the historical motive, the participants have the overlap, the contact, the more important is that the idea of the two has an important common relation, the surrealism is developed on the basis of Dada. The ideas advocated by Dida and Surrealism are fundamentally irrational. Dada's pursuit of irrationality and the destruction of the old aesthetic tradition paved the way for surrealism. However, the irrationality of Dada is mainly represented by a cynicism of attack, and the standard of action of Dada has destroyed everything. Even Darta has a negative and positive contradictory attitude to what he does, so Dada is finally reduced to a spirit of nothingness. While surrealism is based on the irrationality, surrealism, by contrast, is more systematic and has its own clear goals. The irrationality of surrealism is more concentrated and the development of the individual's spiritual liberation and the subconsciousness, and the surrealism is of great interest to the individual's spirit, and the Dardaism is praying for a completely independent power. The surrealist often regards his work as the art of a demented man, and the work of the Darby artist often appears to be a joke and a sense of humor. Whether up to the collage, the photo montage, or the surrealist oil painting, photography, the non-rational tone of the two, and the free active state of the ungoverned, the language characteristics of the 鈥淒islocation and non-reality of spatial relationship and the non-logicality of visual sense order鈥，
本文编号：2333431
[Abstract]:As an important literary and artistic movement in the history of modern art in the West, it has played an important role in the process of promoting the post-modern art. At the same time, its rich visual and cultural heritage has an important influence on the creation of Chinese contemporary art. In the art history, Dada and Surrealism are, in many cases, put together and described as a pair of closely-connected movements. This is because both the time, the historical motive, the participants have the overlap, the contact, the more important is that the idea of the two has an important common relation, the surrealism is developed on the basis of Dada. The ideas advocated by Dida and Surrealism are fundamentally irrational. Dada's pursuit of irrationality and the destruction of the old aesthetic tradition paved the way for surrealism. However, the irrationality of Dada is mainly represented by a cynicism of attack, and the standard of action of Dada has destroyed everything. Even Darta has a negative and positive contradictory attitude to what he does, so Dada is finally reduced to a spirit of nothingness. While surrealism is based on the irrationality, surrealism, by contrast, is more systematic and has its own clear goals. The irrationality of surrealism is more concentrated and the development of the individual's spiritual liberation and the subconsciousness, and the surrealism is of great interest to the individual's spirit, and the Dardaism is praying for a completely independent power. The surrealist often regards his work as the art of a demented man, and the work of the Darby artist often appears to be a joke and a sense of humor. Whether up to the collage, the photo montage, or the surrealist oil painting, photography, the non-rational tone of the two, and the free active state of the ungoverned, the language characteristics of the 鈥淒islocation and non-reality of spatial relationship and the non-logicality of visual sense order鈥，
本文编号：2333431
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