【摘要】：人類與自然的關系大致經歷了幾個大的階段：敬畏自然——認識自然——掌控自然——戰(zhàn)勝自然——回歸自然——親和自然。折射在繪畫中，體現為農耕時代的田園風景——工業(yè)時代的工業(yè)風景——現代城市風景——后現代生態(tài)風景。本論文首先闡述了“人造世界”的概念，分析“人造世界”的多維性。并敘述各個時代的繪畫發(fā)展，從十七世紀的荷蘭風景畫，到浪漫主義風景畫、現實主義風景畫，一直到工業(yè)時代背景下，立體派繪畫中“人造世界”的出現，達達主義代表人物杜尚在繪畫中對機械風景的極致表現及“基里柯”形而上城市風景的冷峻形式的城市風景的動態(tài)速力，并述及圖像時代后現代風景的碎片化拼接。從而指出自然客體從“第一自然”到“第二自然”的演變，自然主體從田園、詩意、浪漫、唯美到諷喻、批判的姿態(tài)轉型，繼而引申出“人造世界”這一概念，，以及當代藝術領域里“人造世界”的不同樣式體現，并從不同題材內容和視覺方式闡述人造世界的多維性。最終結合我的畢業(yè)創(chuàng)作《人造世界》系列作品，暢談對于機械時代、圖像時代帶給我們的利與弊，以及如何審視和直面“第二自然”：是以一種懷舊之情，喚起人們對農耕文明田園意識詩性發(fā)現，還是以一種批判姿態(tài)，喚起人們生態(tài)審美理念。我的畢業(yè)創(chuàng)作試圖以反諷和批判的多維視角對風景進行解構、錯置、拼接、重疊、褶皺，引發(fā)人們對機械文明和圖像時代的無盡追捧而喪失本體關懷和主體自覺進行一些深刻的剖析、反思。
[Abstract]:The relationship between man and nature has gone through several stages: awe of nature-understanding of nature-control over nature-return to nature-affinity to nature. Reflected in painting, reflected in the farming era of pastoral scenery-industrial era of industrial landscape-modern urban landscape-post-modern ecological landscape. This paper first expounds the concept of artificial world and analyzes the multi-dimensional nature of man-made world. And narrates the development of painting in various times, from Dutch landscape painting in the 17th century to romantic landscape painting, realistic landscape painting, to the emergence of "artificial world" in cubism painting under the background of the industrial age. The representative figure of Dadaism, Duchamp, presents the extreme performance of mechanical scenery in his paintings and the dynamic rapidity of the cold and steep form of urban landscape in the metaphysical urban landscape of Kirilco, and discusses the splicing of the post-modern landscape in the image age. It points out the evolution of natural object from "the first nature" to "the second nature", and the transformation of the natural subject from idyllic, poetic, romantic, aesthetic to allegorical, critical posture, and then extends the concept of "artificial world". And the different styles of "artificial world" in the field of contemporary art, and expound the multi-dimensional nature of artificial world from different subjects and visual ways. Finally, with my graduation and creation of the "artificial World" series, I talked about the advantages and disadvantages of the mechanical age, the image age, and how to examine and face the "second Nature": with a nostalgic feeling. To arouse people's poetic discovery of agricultural civilization and pastoral consciousness, or to arouse people's ecological aesthetic idea with a critical attitude. My graduation creation attempts to deconstruct, misplace, splice, overlap, fold, and critique the landscape from a multi-dimensional perspective of irony and criticism. It has caused people to deeply analyze and reflect on the endless pursuit of mechanical civilization and image age and the loss of Noumenon care and subjective consciousness.
【學位授予單位】：中國美術學院
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J213

【相似文獻】

相關碩士學位論文 前1條

1 金兢;“人造世界”創(chuàng)作淺談[D];中國美術學院;2014年

本文編號：2235912