淺析達達、超現(xiàn)實主義圖像創(chuàng)造方法在中國當(dāng)代繪畫創(chuàng)作中的應(yīng)用及影響
發(fā)布時間：2018-11-15 13:24
【摘要】：達達、超現(xiàn)實主義作為西方現(xiàn)代藝術(shù)史上的重要文藝運動,其藝術(shù)觀念對推動之后藝術(shù)的進程起到了重要作用,同時其豐厚的視覺文化遺產(chǎn)對中國當(dāng)代藝術(shù)的創(chuàng)作產(chǎn)生著重要的影響。通常在藝術(shù)史中,達達與超現(xiàn)實主義在很多情況下被并置起來,作為一對聯(lián)系緊密的運動來進行描述。這是因為二者產(chǎn)生的時間、歷史動機、參與者都有重疊、聯(lián)系,更為重要的是二者的理念有重要的共同關(guān)系,超現(xiàn)實主義是在達達的基礎(chǔ)之上發(fā)生發(fā)展起來的。達達和超現(xiàn)實主義所倡導(dǎo)的理念從根本上而言都是非理性的。達達主義對非理性的追求和對舊有審美傳統(tǒng)的破壞為超現(xiàn)實主義鋪平了道路。但是,達達的非理性主要表現(xiàn)為一種玩世不恭的攻擊象征,達達主義的行動標(biāo)準(zhǔn)破壞一切,否定一切,打到一切。甚至達達對自身所做的事情也持一種既否定又肯定的矛盾態(tài)度,所以達達最終淪為了一種精神的虛無狀態(tài)。雖然超現(xiàn)實主義以達達非理性為基礎(chǔ),但是相比之下,超現(xiàn)實主義則顯得更加系統(tǒng),有自己清晰的目標(biāo)。超現(xiàn)實主義的非理性更加集中與對個體精神解放和潛意識的開發(fā),超現(xiàn)實主義對個體精神頗感興趣,而達達主義者卻祈盼獲得一種完全獨立的力量。超現(xiàn)實主義者常常把自己的作品看作是精神錯亂者的藝術(shù),而達達藝術(shù)家的作品又常常顯得戲謔和幽默。不論達達拼貼、照片蒙太奇,還是超現(xiàn)實主義油畫、攝影,二者非理性的基調(diào)以及思想處于不受支配的自由活動狀態(tài)奠定了達達和超現(xiàn)實主義作品“空間關(guān)系的錯位和非現(xiàn)實性以及視覺感受秩序的非邏輯性”的語言特征。本論文的目的在于集中從圖像角度去分析、歸納達達、超現(xiàn)實主義的視覺藝術(shù)資源,并且能夠具體而微的分析總結(jié)出若干達達、超現(xiàn)實主義作品圖像創(chuàng)造方法和圖式特征。通過對主要藝術(shù)家作品的分析,歸納出了五類圖像創(chuàng)造方法,包括1:碎片并置與困惑組合、2:陌生化熟悉事物、3:制造真實與非真實疑問、4:制造多重圖像、5:制造空間幻覺。在這些圖式特征的歸納基礎(chǔ)上,通過與大量的當(dāng)代藝術(shù)作品對比分析,這些圖像創(chuàng)造方法對當(dāng)代藝術(shù)家的影響非常廣泛,不僅包括像鐘飆、張曉剛、曾梵志這樣具有代表性的當(dāng)代藝術(shù)家,也包括許多年輕的藝術(shù)家。這些藝術(shù)家不約而同的借助達達、超現(xiàn)實主義的圖式特征來實現(xiàn)自身想象、情感、觀念以及時代氣息的表達。盡管在達達、超現(xiàn)實主義藝術(shù)家看來作品的技巧無關(guān)緊要,觀念和精神的探究才最重要,但從當(dāng)代繪畫作品面貌看,達達與超現(xiàn)實主義所追求的理念和內(nèi)在精神并沒有在當(dāng)代繪畫的語境下發(fā)揮多少效應(yīng)。反倒是兩場藝術(shù)運動留下的豐厚視覺資源本身對當(dāng)代繪畫創(chuàng)作產(chǎn)生了直接影響。達達與超現(xiàn)實藝術(shù)家們的拼貼、攝影和繪畫作品,它們作為視覺資源,被當(dāng)代繪畫創(chuàng)作反復(fù)挖掘和運用。誠然,達達與超現(xiàn)實主義藝術(shù)的創(chuàng)作與其內(nèi)在觀念是緊密關(guān)聯(lián)的,二者都有關(guān)于美學(xué)的、社會學(xué)的、心理學(xué)的明確指向,然而,如果僅從視覺表象的角度來分析制造那些具有鮮明特征的圖像似乎仍然有章可循,因此本文從圖像創(chuàng)造方法的角度分析羅列了五個主要的點。通過分析諸多的當(dāng)代藝術(shù)作品案例我們發(fā)現(xiàn),達達與超現(xiàn)實主義對當(dāng)代藝術(shù)的創(chuàng)作具有非常廣泛的影響,但很多時候以更加單純的方式對當(dāng)代藝術(shù)家的創(chuàng)作施加影響,這種影響有時候與其藝術(shù)觀念無關(guān),而是僅僅作為視覺表象,以圖式的方式進行。從創(chuàng)作者的角度去考慮的話,不論是主動或自然而然的采用這些圖像模式,這樣的視覺參照已成為藝術(shù)家駕輕就熟的行為,很多時候是天經(jīng)地義順理成章的結(jié)果,就像印象派之后,人們天然的會改變用色方式一樣,這種影響已成為新的日常。由于達達與超現(xiàn)實主義作品在非邏輯的基礎(chǔ)上兼具可識別的圖像特征,加之中國學(xué)院藝術(shù)教育的寫實主義傾向,所以,達達與超現(xiàn)實主義就成為中國當(dāng)代繪畫進行新試驗的折中式選擇。同時,80年來以來,中國社會經(jīng)歷的劇烈的變化產(chǎn)生了各種不確定因素和復(fù)雜性,這種現(xiàn)實因素也是促使達達與超現(xiàn)實主義在中國藝術(shù)創(chuàng)作中受到特別親睞的原因之一。然而,中國的現(xiàn)當(dāng)代藝術(shù)并不是對西方現(xiàn)代藝術(shù)的一種充分理解,而是一種工具性的借用。因此,中國當(dāng)代繪畫更多的是借用達達和超現(xiàn)實主義的圖像創(chuàng)造方法來表述自身的觀念。而中國的藝術(shù)家們在借用達達、超現(xiàn)實主義的圖式的時候,逐漸開始自覺站在中國的立場上,面對自身問題注入了他們自身的感受和自我表達。
[Abstract]:As an important literary and artistic movement in the history of modern art in the West, it has played an important role in the process of promoting the post-modern art. At the same time, its rich visual and cultural heritage has an important influence on the creation of Chinese contemporary art. In the art history, Dada and Surrealism are, in many cases, put together and described as a pair of closely-connected movements. This is because both the time, the historical motive, the participants have the overlap, the contact, the more important is that the idea of the two has an important common relation, the surrealism is developed on the basis of Dada. The ideas advocated by Dida and Surrealism are fundamentally irrational. Dada's pursuit of irrationality and the destruction of the old aesthetic tradition paved the way for surrealism. However, the irrationality of Dada is mainly represented by a cynicism of attack, and the standard of action of Dada has destroyed everything. Even Darta has a negative and positive contradictory attitude to what he does, so Dada is finally reduced to a spirit of nothingness. While surrealism is based on the irrationality, surrealism, by contrast, is more systematic and has its own clear goals. The irrationality of surrealism is more concentrated and the development of the individual's spiritual liberation and the subconsciousness, and the surrealism is of great interest to the individual's spirit, and the Dardaism is praying for a completely independent power. The surrealist often regards his work as the art of a demented man, and the work of the Darby artist often appears to be a joke and a sense of humor. Whether up to the collage, the photo montage, or the surrealist oil painting, photography, the non-rational tone of the two, and the free active state of the ungoverned, the language characteristics of the 鈥淒islocation and non-reality of spatial relationship and the non-logicality of visual sense order鈥，
本文編號：2333431
[Abstract]:As an important literary and artistic movement in the history of modern art in the West, it has played an important role in the process of promoting the post-modern art. At the same time, its rich visual and cultural heritage has an important influence on the creation of Chinese contemporary art. In the art history, Dada and Surrealism are, in many cases, put together and described as a pair of closely-connected movements. This is because both the time, the historical motive, the participants have the overlap, the contact, the more important is that the idea of the two has an important common relation, the surrealism is developed on the basis of Dada. The ideas advocated by Dida and Surrealism are fundamentally irrational. Dada's pursuit of irrationality and the destruction of the old aesthetic tradition paved the way for surrealism. However, the irrationality of Dada is mainly represented by a cynicism of attack, and the standard of action of Dada has destroyed everything. Even Darta has a negative and positive contradictory attitude to what he does, so Dada is finally reduced to a spirit of nothingness. While surrealism is based on the irrationality, surrealism, by contrast, is more systematic and has its own clear goals. The irrationality of surrealism is more concentrated and the development of the individual's spiritual liberation and the subconsciousness, and the surrealism is of great interest to the individual's spirit, and the Dardaism is praying for a completely independent power. The surrealist often regards his work as the art of a demented man, and the work of the Darby artist often appears to be a joke and a sense of humor. Whether up to the collage, the photo montage, or the surrealist oil painting, photography, the non-rational tone of the two, and the free active state of the ungoverned, the language characteristics of the 鈥淒islocation and non-reality of spatial relationship and the non-logicality of visual sense order鈥，
本文編號：2333431
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