發(fā)布時(shí)間：2018-09-12 09:09

【摘要】：“空”作為傳統(tǒng)文化中的重要意象,在當(dāng)代亦不失光芒。因?yàn)椤翱铡钡淖至x演化是不斷變化的社會(huì)和人文環(huán)境緊密相連。傳統(tǒng)文化中“空”的“人格”性與當(dāng)下公共精神追求如出一轍,所以,“空”是能夠成為表現(xiàn)現(xiàn)代人公共環(huán)境下的公共追求的。在公共壁畫物質(zhì)空間中,“空”不僅是壁畫物質(zhì)密度、數(shù)量上的空,也是環(huán)境整體視距上的空,同時(shí)是能夠吸納觀者情緒感受上的“虛空”。同時(shí),各種“物”的豐富也在不斷的爭(zhēng)奪自然空間。在鼓勵(lì)“作為”而不是“清凈無為”的當(dāng)下社會(huì)大生產(chǎn)環(huán)境中,要獲得更多的空間就要削弱空間的“物性”生產(chǎn),以“空”性替代其“作為”感。公共壁畫打破封閉空間,升華、點(diǎn)綴環(huán)境需要“空”作為“粘結(jié)劑”,為靜止硬性的墻壁“開窗”;為孤立剛性的環(huán)境“搭橋”。壁畫創(chuàng)造出的獨(dú)立于物質(zhì)和意識(shí)等能量體之外的精神空間本質(zhì)是“空無”,但卻能成為有“主題標(biāo)志”樣的象征味道,以“非命令”的語氣使被引導(dǎo)者感到完全出于自愿接受空間的引導(dǎo)。精神空間不僅是個(gè)人的經(jīng)驗(yàn)還是集體的共鳴。通過“空”來應(yīng)對(duì)社會(huì)空間中各種微妙的精神關(guān)系:調(diào)節(jié)城市空間壓抑、等級(jí)化所帶來的抵觸感,以及由區(qū)別化帶來的心理上的疏離感,并有效地削弱空間的強(qiáng)制壓迫感。以“海納百川”式的力量吞噬人面對(duì)絕對(duì)空間時(shí)的恐懼與對(duì)抗,這就是“空”在環(huán)境與人之間保持的適當(dāng)精神空間。最后找到公共壁畫中“空”的缺失實(shí)質(zhì),以及運(yùn)用“空”,從局限性、純粹性和生態(tài)性上構(gòu)建公共壁畫。
[Abstract]:Emptiness, as an important image in traditional culture, does not lose its light in contemporary times. Because the meaning of "empty" evolution is closely linked to the changing social and human environment. The "personality" of "emptiness" in traditional culture is the same as the pursuit of public spirit at present, so "emptiness" can become the public pursuit under the public environment of modern people. In the material space of public murals, "emptiness" is not only the density and quantity of frescoes, but also the void in the whole visual horizon of the environment, and it is also the "void" which can absorb the viewers' emotional feelings. At the same time, the richness of various "things" is constantly competing for natural space. In order to gain more space, we should weaken the "materiality" of space and replace it with "emptiness" instead of "feeling". Public murals break the closed space, sublimate, embellish the environment need "empty" as "binder", for static hard wall "window", for isolated rigid environment "bridge". The spiritual space created by the murals, independent of the energy bodies such as matter and consciousness, is essentially "empty", but it can become a symbolic flavor with "thematic symbols". In the tone of "non-command" make the guide feel completely willing to accept the guidance of space. Spiritual space is not only an individual experience but also a collective resonance. To deal with various subtle spiritual relationships in social space through "emptiness": to adjust the sense of resistance brought about by urban space depression, hierarchy, and psychological alienation brought by differentiation, and to effectively weaken the compulsion of space. The fear and confrontation in the face of absolute space are engulfed by the power of "a hundred rivers in the sea", which is the proper spiritual space between the environment and the human being. Finally, it finds out the essence of "emptiness" in public murals, and constructs public murals from the aspects of limitation, purity and ecology.
【學(xué)位授予單位】：湖北美術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J218.6

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相關(guān)期刊論文 前1條

1 張桂權(quán);;笛卡爾的空間觀念及其現(xiàn)代意義[J];四川師范大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2014年03期

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本文編號(hào)：2238550