【摘要】：數(shù)學(xué)中的概念與筆者所說的概念不同,在數(shù)學(xué)中事件發(fā)生之前已經(jīng)明確知道了會不會發(fā)生的事件,不明確的是不知道它會不會發(fā)生。在創(chuàng)作中也有這一情況,例如對一些事先想到的一些形態(tài)或元素,而在創(chuàng)作過程中視情況而定,對其進行取舍,這也是隨機的。如在創(chuàng)作之初對材料的選擇,筆者知道材料本身所帶著的肌理紋路又是隨機產(chǎn)生的,這種隨機性也是造成肌理美的重要原因。而不同的是在創(chuàng)作過程中時常會出現(xiàn)完全意料不到的審美形態(tài),這是一種偶然的創(chuàng)作發(fā)現(xiàn)之美;也體現(xiàn)在創(chuàng)作內(nèi)容上,在創(chuàng)作過程中或作品完成時發(fā)現(xiàn)作品卻可以表達另外的意義。這里取其在事件發(fā)生之前看待事物的觀念,在創(chuàng)作之前明確其中的確定形象,并給與不確定的隨機形象以想象發(fā)揮的空間。隨機現(xiàn)象在日常生活中隨處可見,而對雕塑中隨機形象的研究無疑可以豐富雕塑的形式語言。一盒火柴排列有序然,我們隨意散落到地上變得雜亂無序很容易,要使它恢復(fù)到原來的有序狀態(tài),則要困難得多。在雕塑實踐中,一桶泥可以看做無序狀態(tài),想要捏塑成符合人物特點具象形象的有序狀態(tài),是要經(jīng)過紛繁復(fù)雜的制作過程,審美過程,翻制修補過程,形成富有寫實表現(xiàn)力的雕塑。而一桶泥也可以看做是有序狀態(tài),我們可以隨意的捏塑成千變?nèi)f化的無序形態(tài),這樣要容易得多,這些千變?nèi)f化的隨機形象經(jīng)過,審美取舍,保留下來成為雕塑創(chuàng)作的一部分,這無疑開展了雕塑外在的形式語言。在創(chuàng)作時對其中隨機出現(xiàn)的形象進行審美選擇或直接保留,使之成為作品的一部分,就是隨機造型的方法。
[Abstract]:The concept in mathematics is different from the concept mentioned by the author. Before the occurrence of an event in mathematics, it is clear whether the event will happen or not, but it is not clear whether it will happen or not. This is also the case in the creation, for example, for some beforehand thought of some form or element, and in the creative process, depending on the situation, to make a choice, which is also random. For example, the selection of materials at the beginning of creation, the author knows that the texture of the material itself is random, this randomness is also an important reason for the beauty of texture. The difference is that in the process of creation, there will often appear completely unexpected aesthetic form, which is a kind of accidental creation of the beauty of discovery; Also embodied in the content of creation, in the process of creation or the completion of the work found that the work can express another meaning. In this paper, the idea of looking at things before the event is taken, the definite image is defined before the creation, and the space of imagination is given to the uncertain random image. Random phenomena can be seen everywhere in daily life, and the study of random images in sculpture can undoubtedly enrich the formal language of sculpture. A box of matches is arranged in an orderly order, and it is much more difficult to get it back to order when we drop it to the ground at will. In the practice of sculpture, a bucket of mud can be seen as a state of disorder. If you want to knead and shape an orderly state that conforms to the figure's characteristics and figurines, it is necessary to go through the complicated production process, the aesthetic process, and the process of turning over and repairing. Form realistic and expressive sculptures. And a bucket of mud can also be seen as an orderly state. We can knead at will to form a disorderly form of ever-changing, which is much easier. These ever-changing random images go through, aesthetic choices, and remain a part of sculpture creation. This undoubtedly develops the sculpture external form language. The method of random modeling is to make aesthetic choice or direct retention of the random appearance of the image in the process of creation so that it becomes a part of the work.
【學(xué)位授予單位】：西安美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J304

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相關(guān)期刊論文 前1條

1 劉曦林;寫意·隨機·嚴整——張立辰花鳥畫賞記[J];美術(shù);1997年02期

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本文編號：2298402