【摘要】：繪畫創(chuàng)作是一個(gè)創(chuàng)造的過(guò)程,藝術(shù)家首先形成自己的意圖或觀念,然后借助于繪畫行為將經(jīng)驗(yàn)中或現(xiàn)實(shí)中的客觀事物改造成與意圖或觀念相符合的狀態(tài),最后外化在某種物質(zhì)載體當(dāng)中。經(jīng)驗(yàn)在人類歷史上有很長(zhǎng)的歷史,藝術(shù)家的繪畫創(chuàng)作離不開創(chuàng)作主體對(duì)經(jīng)驗(yàn)的把握,進(jìn)而利用經(jīng)驗(yàn)對(duì)創(chuàng)作客體“物”進(jìn)行解讀。在經(jīng)驗(yàn)背景下,藝術(shù)家對(duì)“物”的解讀過(guò)程中也會(huì)產(chǎn)生誤讀。這種誤讀與原本對(duì)“物”的解讀具有不可調(diào)和性,但誤讀豐富了“物”的本體價(jià)值,為我們的藝術(shù)創(chuàng)作提供了更多的可能性。本文結(jié)合了具體的藝術(shù)家的繪畫創(chuàng)作過(guò)程,通過(guò)文獻(xiàn)研究法,了解繪畫創(chuàng)作,并重新定義繪畫創(chuàng)作中經(jīng)驗(yàn)、誤讀和“物”的概念。經(jīng)驗(yàn)與“物”在哲學(xué)史上一直都是哲學(xué)家探討和研究的命題,將誤讀置入繪畫創(chuàng)作的命題中,則凸顯出它們?nèi)擢?dú)特的可能性。關(guān)于誤讀與“物”,國(guó)外的研究文獻(xiàn)較多,而國(guó)內(nèi)則相對(duì)來(lái)說(shuō)匱乏些。本文最后得出的結(jié)論是:由于經(jīng)驗(yàn)在繪畫創(chuàng)作中具有了可實(shí)踐性和可操作性,對(duì)“物”的誤讀促使藝術(shù)家重新給“物”下定義,增加了“物”的概念,同時(shí)豐富了“物”的本體價(jià)值,最終使我們更接近于“物”的真實(shí)。對(duì)于繪畫創(chuàng)作來(lái)說(shuō),卻也不是所有的經(jīng)驗(yàn)對(duì)“物”的認(rèn)知都是有價(jià)值的。本文一共分為四個(gè)部分,第一部分概述了經(jīng)驗(yàn)與“物”的概念及重新思考,將繪畫創(chuàng)作中的經(jīng)驗(yàn)分為身體經(jīng)驗(yàn)和心理經(jīng)驗(yàn)。第二部分論述了經(jīng)驗(yàn)對(duì)“物”的解讀與誤讀的概念及生成,通過(guò)藝術(shù)家的藝術(shù)作品探討不同的經(jīng)驗(yàn)對(duì)“物”的解讀,并由此產(chǎn)生誤讀。第三部分描述了誤讀所導(dǎo)致的結(jié)果,并不全盤批判誤讀,而是探討誤讀的可能性。第四部分則描述了如何利用誤讀,即誤讀在繪畫創(chuàng)作中的價(jià)值。藝術(shù)的本質(zhì)即真理,藝術(shù)家的經(jīng)驗(yàn)對(duì)“物”產(chǎn)生誤讀時(shí),同時(shí)也使我們更接近于藝術(shù)的本質(zhì)。
[Abstract]:Painting creation is a creative process in which the artist first forms his own intention or idea and then transforms the objective thing in experience or reality into a state consistent with the intention or idea with the help of painting behavior. Finally externalize in some kind of material carrier. Experience has a long history in human history, the artist's painting creation can not be separated from the master of experience, and then use experience to interpret the object of creation "thing". Under the background of experience, the artist will misread the object. This misreading is irreconcilable with the original interpretation of "thing", but it enriches the Noumenon value of "thing" and provides more possibilities for our artistic creation. This paper combines the process of painting creation of specific artists, through literature research, understand painting creation, and redefine the concepts of experience, misreading and "object" in painting creation. In the history of philosophy, experience and "things" have always been discussed and studied by philosophers. Putting misreading into the proposition of painting creation highlights their unique possibility. There are many researches on misreading and object in foreign countries, but there are relatively few in our country. The final conclusion of this paper is: because experience has practicability and maneuverability in painting creation, the misreading of "thing" urges the artist to redefine "thing" and add the concept of "thing". At the same time, it enriches the Noumenon value of things, and finally brings us closer to the truth of things. For painting, not all experience is valuable to the cognition of things. This paper is divided into four parts. The first part summarizes the concept and rethinking of experience and "thing", and divides the experience of painting into physical experience and psychological experience. The second part discusses the concept and generation of the interpretation and misreading of "things" by experience, and probes into the interpretation of "things" by different experiences through the artists' works of art. The third part describes the result of misreading, not criticizing misreading completely, but exploring the possibility of misreading. The fourth part describes how to use misreading, that is, the value of misreading in painting creation. The essence of art is truth. When the artist's experience misreads things, it also brings us closer to the essence of art.
【學(xué)位授予單位】：魯迅美術(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)：2206023