本文選題：偶然性 + 繪畫藝術(shù)��； 參考：《廣西藝術(shù)學(xué)院》2017年碩士論文

【摘要】：如今讀圖時(shí)代下視覺藝術(shù)的一番繁榮景象,離不開繪畫藝術(shù)自中世紀(jì)以來上千年的不斷演變和探索,其中包含印象派和達(dá)達(dá)主義等具有顛覆性的藝術(shù)理念,而每一次藝術(shù)的革新和新一代潮流的興起,都存在偶然性于其中。因?yàn)樗囆g(shù)的發(fā)展是一個(gè)在繼承的基礎(chǔ)上加以創(chuàng)新甚至推翻的過程,偶然情況下藝術(shù)的突破也是藝術(shù)發(fā)展的必然趨向。并且在繪畫藝術(shù)創(chuàng)作的過程,是一個(gè)偶發(fā)因素和必然因素共同作用下的過程,需要藝術(shù)家具有極強(qiáng)的把控力才能使作品和諧的同時(shí)又不失豐富。在中西方繪畫形式上,大趨勢(shì)都是隨著歷史的推進(jìn)和文化變革從相對(duì)寫實(shí)逐漸演變成相對(duì)寫意。拿西畫來說,其經(jīng)歷了中世紀(jì)為宗教服務(wù)的功能逐漸進(jìn)化為以藝術(shù)家自身的情感出發(fā)進(jìn)行表現(xiàn),繪畫逐漸變得越發(fā)純粹。從演變過程上來講,人們不難發(fā)現(xiàn),繪畫中的偶然性形式和元素逐漸增多,畫家對(duì)畫面的主宰地位逐漸下降,甚至有觀念稱,藝術(shù)已然存在于世,藝術(shù)家只是將它創(chuàng)作出來而已。繪畫便經(jīng)歷了從可控到可控與不可控相結(jié)合、能預(yù)見到不能預(yù)見的轉(zhuǎn)變。就是因?yàn)槔L畫過程中,畫家的從屬地位和創(chuàng)作方式的變革,而使得繪畫具有了千般變化和萬(wàn)般可能,而在這其中,偶然性因素起到了至關(guān)重要的作用。繪畫創(chuàng)作中的偶然性的引發(fā)往往來源于材料的特性和藝術(shù)家潛意識(shí)的作用,偶然效果是藝術(shù)家潛意識(shí)主導(dǎo)下的行為結(jié)果,而意識(shí)則負(fù)責(zé)決定偶然效果的去留。這也是跟同樣是二維視覺藝術(shù)的攝影區(qū)別開來的重要因素。其中,潛意識(shí)是潛藏在人的內(nèi)心深處無(wú)法感知的部分,而在潛意識(shí)狀態(tài)下完成的藝術(shù)作品將更加貼近藝術(shù)和藝術(shù)家的本真,因此可以說,對(duì)潛意識(shí)作用下的偶然因素的探究更是勢(shì)在必行。對(duì)偶然性的研究能夠啟發(fā)藝術(shù)家們?cè)诶L畫藝術(shù)創(chuàng)作中去正確的看待和運(yùn)用偶然性和必然性、潛意識(shí)和意識(shí)、可控性和不可控性,打破固有的程式化觀念去尋求新的藝術(shù)表達(dá)方式,發(fā)揚(yáng)個(gè)人獨(dú)立精神和藝術(shù)創(chuàng)新精神,以求接近藝術(shù)本體的回歸,使繪畫藝術(shù)在當(dāng)下多元時(shí)代的藝術(shù)大軍中大放異彩。本文開篇以歐洲文藝復(fù)興興起后在繪畫材料和題材上的變革展開,通過對(duì)各個(gè)時(shí)期具有代表性的藝術(shù)家和藝術(shù)流派的創(chuàng)作理念和繪畫技法的分析,明確說明偶發(fā)因素在繪畫作品中逐漸被發(fā)現(xiàn)并被重視起來。文章的中間部分主要講述技法層面上對(duì)偶然性效果的運(yùn)用和偶然性在潛意識(shí)作用下的產(chǎn)生,其中著重表明潛意識(shí)的存在方式以及如何導(dǎo)致偶然性的發(fā)生,進(jìn)而論述偶然性在藝術(shù)創(chuàng)作中的重要地位和實(shí)質(zhì)作用。接著,文章以李紹忠先生和作者本人的繪畫創(chuàng)作方式作結(jié)尾,重點(diǎn)講述偶然性如何在二人創(chuàng)作過程中得以運(yùn)用。最后再次強(qiáng)調(diào)了偶然性的重要性以及作為藝術(shù)家如何駕馭偶然性,并提出偶然性具有永久的探究?jī)r(jià)值。
[Abstract]:Nowadays, the prosperity of visual art in the era of reading pictures is inseparable from the continuous evolution and exploration of painting art since the Middle Ages, including the subversive artistic ideas such as Impressionism and Dadaism. Every artistic innovation and the rise of a new generation of trends, there are contingency in them. Because the development of art is a process of innovating and even overthrowing on the basis of inheritance, the breakthrough of art is also the inevitable trend of art development. And in the process of painting art creation, it is a process under the joint action of accidental factors and inevitable factors. It requires the artist to have a strong control in order to make the works harmonious and rich at the same time. In the form of Chinese and Western painting, the general trend is to evolve from relative realism to relative freehand brushwork with the development of history and cultural change. Taking Western painting as an example, its function of serving religion in the Middle Ages gradually evolved to be expressed by the artist's own emotion, and the painting gradually became more and more pure. In the process of evolution, it is not difficult to find that the accidental forms and elements in painting are gradually increasing, and the painter's dominance of the picture is gradually declining, and there are even some ideas that art already exists in the world. The artist just created it. Painting has experienced a change from controllable to controllable and uncontrollable, and can foresee unpredictable changes. It is because of the painting process, the painter's subordinate position and the innovation of the way of creation, and make the painting have a thousand changes and possibilities, and in this, the accidental factor played a vital role. The accidental trigger in painting often comes from the characteristics of materials and the role of the artist's subconscious. Accidental effect is the result of the artist's subconscious action, while consciousness is responsible for deciding whether the accidental effect is left or not. This is also an important factor in differentiating from photography, which is also a two-dimensional visual art. Among them, the subconscious is a part that is hidden in the depths of man's heart, and the works of art completed in the subconscious state will be more close to the true nature of art and artists, so it can be said, It is imperative to explore the accidental factors under the action of the subconscious. The study of contingency can inspire artists to treat and use contingency and inevitability, subconscious and consciousness, controllability and uncontrollability in painting art creation. Break the inherent stylized concept to seek new artistic expression, carry forward the individual independent spirit and artistic innovation spirit, in order to approach the return of the art ontology, so that the painting art in the present pluralistic era in the art army splendor. This article begins with the changes in painting materials and subjects after the rise of the European Renaissance, through the analysis of the creative ideas and painting techniques of the representative artists and art schools in various periods. It is clear that the accidental factors are gradually found and taken seriously in the painting works. The middle part of the article mainly describes the application of the accidental effect and the generation of the chance under the action of the subconscious at the level of technique, which emphasizes the existence mode of the subconscious and how to lead to the occurrence of the contingency. Then it discusses the important position and essential function of contingency in artistic creation. Then, the article ends with the painting style of Mr. Li Shaozhong and the author himself, focusing on how chance can be used in the process of their creation. Finally, it emphasizes the importance of fortuitousness and how to control it as an artist, and points out that fortuitousness has permanent exploring value.
【學(xué)位授予單位】：廣西藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J204

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本文編號(hào)：1985360