浅析杉本博司影像中的造像手法

发布时间：2018-06-05 23:15

本文选题：杉本博司 + 摄影　；参考：《山东工艺美术学院》2017年硕士论文

【摘要】：杉本博司是一位对亚洲乃至世界范围内都非常有影响力的摄影家,对当今影像的发展做出了极大的贡献。在1975年第一部作品《透视画馆》被美术馆认可之后便开启了其真正的影像艺术生涯,伴随着《海景》、《剧院》、《佛海》及《阴翳礼赞》等作品的诞生,使其在摄影艺术领域的地位不断提高,多次斩获国际范围内的摄影大奖。杉本博司的影像在以时间作为首要思考方式的基础上,不断尝试着属于他个人的“造像”表现手法,使不同系列的作品表现出丰富地艺术性与多样性,简单的画面背后却蕴藏着他对历史对记忆的一种思考方式,而这种思考方式恰恰是通过其独特的表现手法来向人们展现的。在对杉本博司进行大量的文献研究和整理的基础上,本文选取其具有代表性的影像作品进行分析与解读,从而对他“造像”的影像表现手法进行分析。本文总共分为五个部分:第一章主要是介绍摄影在当今的一种存在面貌以及确立一个明确的摄影造像的概念,从而使造像与摄影真正可以产生联系。第二章是对杉本博司的一个影像的概述,从他的成长经历、拍摄主题和对摄影的执着三个方面对其进行一个全方位的阐述,以便了解其造像的背景。第三章则是在其影像的基础上对他的作品进行一个归纳式的剖析,从东西方的成长影响、运动与静止、简单事物的影像与被升华的物哀这四个角度,从而对杉本博司造像表现下的影像语境进行解读。第四章是梳理杉本博司造像手法下的影像构建,对他众多作品进行梳理寻找共性。将整理后得出的“无现实”的影像、模糊的影像及不可见的影像这三个方面来进行论述。第五章是在本文前几部分对杉本博司的造像表现手法的研究后所进行总结,主要围绕杉本博司的影像对当今摄影所带来的意义,突出造像这一表现手法的重要性。探究杉本博司的影像可以使我们更好的学习和借鉴他的造像方式,在这个基础上不断发展,让越来越多的摄影人拥有属于自己的造像手段。杉本博司打破了摄影表现的单一性,丰富了摄影语言的形成,祈合了当今摄影发展成为媒介语言的方向,使我们更好地掌握并应用这门艺术表达思想。
[Abstract]:Sugimoto is a very influential photographer in Asia and the world, and has made great contributions to the development of today's images. After his first work, the Pivotology Museum, was approved by the Art Museum in 1975, he began his real career in image art, with the birth of Seaview, Theater, Fohai and praise of Yanyi, and so on. So that its position in the field of photography continues to improve, many times won the international photography awards. On the basis of taking time as the first way of thinking, Sugimoto's images are constantly trying his own "portrait" expression techniques, so that different series of works show rich artistry and diversity. Behind the simple picture, however, there is a way of thinking about the memory of history, and this way of thinking is displayed to people through its unique means of expression. On the basis of a great deal of literature research and collation, this paper selects his representative image works to analyze and interpret, and then analyzes his image expression techniques. This paper is divided into five parts altogether: the first chapter mainly introduces a kind of present appearance of photography in the present and establishes a clear concept of photographic image, so that the image and photography can really be connected. The second chapter is an overview of an image of Sugimoto, from his growing up experience, shooting theme and his dedication to photography, in order to understand the background of his portrait. The third chapter is an inductive analysis of his works on the basis of his images, from the four angles of the influence of the growth of the East and the West, the movement and stillness, the image of simple things and the sorrow of the sublimated objects. In order to interpret the image context under the image performance of Sugimoto. The fourth chapter is combing the image construction of Sugimoto, looking for the commonness of his many works. The unreal image, fuzzy image and invisible image are discussed. The fifth chapter is a summary of the study of the image presentation techniques of Sugamoto in the first part of this paper, mainly focusing on the significance of the image of Sugimoto to today's photography, highlighting the importance of this technique. Exploring Sugimoto's image can make us learn and learn from his image way better. On this basis, more and more photographers have their own image means. Sugimoto has broken the singularity of photography, enriched the formation of photography language, and developed photography into a medium language, which makes us better grasp and apply this art to express our thoughts.
【学位授予单位】：山东工艺美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J405

【参考文献】