本文選題：圖像時(shí)代　切入點(diǎn)：平面化意識(shí)　出處：《華東師范大學(xué)》2011年碩士論文

【摘要】：這是一個(gè)嚴(yán)峻的事實(shí)：我們生活的時(shí)代是一個(gè)影像技術(shù)越來(lái)越發(fā)達(dá),影像獲取和復(fù)制越來(lái)越方便的時(shí)代,很多時(shí)候,鏡頭替代了我們的眼睛,信息替代了經(jīng)典的閱讀。在這個(gè)時(shí)代,油畫的生存和發(fā)展受到了巨大的威脅。 近年來(lái),中國(guó)當(dāng)代油畫逐步秉棄或背叛了歐洲傳統(tǒng)的古典主義模式,突破畫面的三維空間、立體表現(xiàn)、光影效果,變焦點(diǎn)透視和成角透視為散點(diǎn)透視或視覺(jué)移動(dòng)透視,形成了淡化光影、削弱對(duì)比、趨向于平面化的表現(xiàn)手法。這種表現(xiàn)手法完全符合人們快速瀏覽式的機(jī)械觀圖法則,正被越來(lái)越多的人所接受并悄然形成一種趨勢(shì)。 關(guān)于平面化意識(shí),不禁讓人聯(lián)想到中國(guó)傳統(tǒng)繪畫。從中國(guó)古代“天人合一”的哲學(xué)觀到“外師造化,中得心源”再到中國(guó)傳統(tǒng)繪畫的平面觀,都是—脈相承的,它和從西方的科學(xué)的形上學(xué)到鏡子說(shuō)、模仿說(shuō)再到寫實(shí)繪畫的透視觀有著天壤之別。 自1832年照相機(jī)發(fā)明到20世紀(jì)中期,西方現(xiàn)代主義繪畫的重要一脈都是反圖像的,從印象派、后印象派到立體派、抽象表現(xiàn)主義,整個(gè)現(xiàn)代藝術(shù)發(fā)展的歷史就是平面化的歷史,在平面化進(jìn)程中,一些畫家還受到了東方藝術(shù)的影響。 傻瓜機(jī)的誕生使“合格”的照片數(shù)量劇增,大批非專業(yè)人員加入到攝影隊(duì)伍中來(lái),不少藝術(shù)家開(kāi)始對(duì)圖像產(chǎn)生迷戀,有的直接挪用廣告、海報(bào)等圖像,也有的通過(guò)繪畫性的表達(dá)再現(xiàn)照片,都體現(xiàn)不同程度的平面化意識(shí)。 雖然在西方油畫早就經(jīng)歷了平面化意識(shí)的轉(zhuǎn)型,但中國(guó)的油畫教育卻還延續(xù)著三維透視的寫實(shí)畫法。直至’85新潮,以高校學(xué)生為主對(duì)藝術(shù)現(xiàn)代化進(jìn)行了集群性試驗(yàn),進(jìn)入90年代,中國(guó)藝術(shù)家趨于冷靜和超脫,二十一世紀(jì)的油畫教育,除加強(qiáng)國(guó)際交流與合作外更堅(jiān)持中國(guó)文化主體意識(shí)。 中國(guó)當(dāng)代油畫平面化意識(shí),即具有一定的民族傳承,又順應(yīng)了國(guó)際潮流,還真實(shí)地反映著社會(huì)生活,它的存在使我們有理由相信,油畫將與其他媒介長(zhǎng)期共處共生,共同豐富著我們的視覺(jué)世界。
[Abstract]:This is a grim fact: we live in an age where image technology is getting more and more advanced, images are getting more and more convenient to access and copy, and many times, lenses have replaced our eyes. Information replaces classic reading. In this era, the survival and development of oil painting is threatened. In recent years, Chinese contemporary oil paintings have gradually abandoned or betrayed the traditional European classical model, breaking through the three-dimensional space of the picture, stereoscopic expression, light and shadow effect, changing focus perspective and angle perspective into scattered point perspective or visual moving perspective. It has formed the expressive technique of desalting light and shadow, weakening contrast and tending to be flat, which completely accords with the principle of mechanical view of people's quick browsing, and is accepted by more and more people and forms a trend quietly. As for the consciousness of plane painting, one cannot help but think of Chinese traditional painting. From the philosophy of "harmony of nature and man" in ancient China to the "creation of outside teachers," and then to the plane view of traditional Chinese painting, all of them are related to each other. It is very different from the perspective view of learning from western science form mirror theory, imitation theory to realistic painting. From the invention of camera in 1832 to the middle of the 20th century, the important vein of western modernist painting was anti-image, from Impressionism, Post-Impressionism to Cubism, Abstract Expressionism, and the whole history of modern art development was the history of planarization. In the process of planarization, some painters are also influenced by oriental art. With the birth of the machine, the number of "qualified" photos increased dramatically, and a large number of non-professionals joined the photography team. Many artists began to become obsessed with images, and some directly misappropriated images such as advertisements, posters, and so on. There are also some through the painting of the representation of the picture, reflect different degrees of planarization consciousness. Although oil painting in the West has long experienced the transformation of planarization consciousness, the Chinese oil painting education still continues the realistic painting method of three-dimensional perspective. In the 1990s, Chinese artists tend to be calm and detached. Oil painting education in the 21 century not only strengthens international communication and cooperation, but also adheres to the consciousness of Chinese cultural subject. Chinese contemporary oil painting planarization consciousness, which has a certain national heritage, also conforms to the international trend, but also truly reflects social life, its existence makes us have reason to believe that oil painting will coexist with other media for a long time. Together, it enriches our visual world.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類號(hào)】：J213

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