绘画中的“借用”现象研究

发布时间：2018-12-28 07:05

【摘要】：艺术是社会意识形态的反映，它以其特有的方式反映着世界，而绘画作为其中的一个门类，也同样具有精神生产活动的属性。但是，绘画创作不是一个简单的问题，它时常伴有进退维谷的状况，阻力与前进共生并存。绘画的意义在某种程度上意味着对困难的征服，困境的出现往往是思考带来的，它伴随出现的是上升的可能性。在此过程中，我们不能作茧自缚，而要破茧成蝶。这其间包含着选择的问题，选择是有前提的，，那就是明晰处境与知晓发展的空间。绘画作品传达的信息量时常少于它的承载量，信息量对于绘画本体来说大致可分为两个方面，一方面是外部信息，即透过作品的气息所达到的移情或通感；另一方面是内部因素，即构成绘画自身要素之间的关系与来源。对于绘画现象的分析与把握有助于我们更加清醒、准确地对绘画作品与画家进行定位。在此基础上，艺术鉴别力的形成和艺术立场的确立对于实践者来说是至关重要的。本研究将“借用”现象限定在绘画领域内进行探讨。我们知道，任何现象都会因不同的视角而不止一次地被重新审视和定位，甚至引起争议，正是这种包容性和对抗性的博弈为绘画理论和实践的发展开拓了无限的空间。绘画中的“借用”现象极其普遍且多样，其中既有图像间的“借用”，又有形式语言的“借用”，还有题材的“借用”。模拟、移植和改造是形成“借用”现象的主要影响因素。绘画的终极目的要落实到创作上，靠创作来体现。因此，以创作为基准研究绘画现象非常重要，也是十分必要的。本研究通过对绘画中“借用”现象的层层分析，试图去除其表面的遮蔽，进而界定现象属性间彼此的范畴和界限，并将其分为非创作状态、准创作状态、亚创作状态和创作状态四种性质类型。借此在绘画艺术发展的自律与他律的交织中批判地反省，借鉴地吸收。在研究最后探讨了绘画中“借用”现象与艺术的本质和创造力的关系，全文强化了画家自主创作在绘画中的重要性，并期冀唤起绘画创作的精神重建，从而解决创作中的实际问题，实现艺术家自身确证的最大化。因为思想是绘画的灵魂，人文精神是绘画的体现，借助思维方式赋予绘画以生命则是艺术永恒的主题。
[Abstract]:Art is the reflection of social ideology, it reflects the world in its unique way, and painting, as one of the categories, also has the attribute of spiritual production activities. However, painting is not a simple problem, it is often accompanied by the dilemma, resistance and forward coexistence. To some extent, the meaning of painting means the conquest of difficulties, the emergence of dilemmas is often brought about by thinking, it is accompanied by the possibility of rising. In the process, we can not bind ourselves, but to break the cocoon into butterflies. This involves the question of choice, which is conditional, that is, clarity of situation and awareness of the space for development. The amount of information conveyed by painting works is often less than its carrying capacity, and the amount of information can be roughly divided into two aspects for painting ontology, one is external information, that is, the empathy or synesthesia achieved through the breath of the works; On the other hand, it is the internal factor, that is, the relationship and source between the elements of painting itself. The analysis and grasp of the painting phenomenon will help us to be more sober and accurately position the painting works and painters. On this basis, the formation of artistic discrimination and the establishment of artistic position are of great importance to practitioners. In this study, the phenomenon of borrowing is limited to the field of painting. We know that any phenomenon will be re-examined and positioned more than once because of different perspectives, and even cause controversy. It is this kind of inclusive and confrontational game that opens up infinite space for the development of painting theory and practice. The phenomenon of "borrowing" in painting is extremely common and diverse, including "borrowing" between images, "borrowing" in formal language and "borrowing" on subject matter. Simulation, transplantation and transformation are the main factors influencing the formation of "borrowing" phenomenon. The ultimate aim of painting should be realized on creation and reflected by creation. Therefore, it is very important and necessary to study painting phenomenon on the basis of creation. Through the analysis of the phenomenon of "borrowing" in painting, this study tries to remove the shading of its surface, and then defines the categories and boundaries between the attributes of phenomena, and divides them into non-creative state and quasi-creative state. Sub-creation state and creation state are four kinds of nature types. In order to the development of painting art in the development of self-discipline and the interweaving of other laws critically introspection, draw lessons from the absorption. At the end of the study, the relationship between the phenomenon of "borrowing" in painting and the essence and creativity of art is discussed. The full text strengthens the importance of painters' independent creation in painting, and hopes to arouse the spiritual reconstruction of painting creation. In order to solve the actual problems in the creation, to maximize the artist's own corroboration. Because thought is the soul of painting, humanistic spirit is the embodiment of painting, giving life to painting by means of thinking is the eternal theme of art.
【学位授予单位】：天津大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J205

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