【摘要】：藝術(shù)是社會(huì)意識(shí)形態(tài)的反映，它以其特有的方式反映著世界，而繪畫作為其中的一個(gè)門類，也同樣具有精神生產(chǎn)活動(dòng)的屬性。但是，繪畫創(chuàng)作不是一個(gè)簡單的問題，它時(shí)常伴有進(jìn)退維谷的狀況，阻力與前進(jìn)共生并存。繪畫的意義在某種程度上意味著對困難的征服，困境的出現(xiàn)往往是思考帶來的，它伴隨出現(xiàn)的是上升的可能性。在此過程中，我們不能作繭自縛，而要破繭成蝶。這其間包含著選擇的問題，選擇是有前提的，，那就是明晰處境與知曉發(fā)展的空間。繪畫作品傳達(dá)的信息量時(shí)常少于它的承載量，信息量對于繪畫本體來說大致可分為兩個(gè)方面，一方面是外部信息，即透過作品的氣息所達(dá)到的移情或通感；另一方面是內(nèi)部因素，即構(gòu)成繪畫自身要素之間的關(guān)系與來源。對于繪畫現(xiàn)象的分析與把握有助于我們更加清醒、準(zhǔn)確地對繪畫作品與畫家進(jìn)行定位。在此基礎(chǔ)上，藝術(shù)鑒別力的形成和藝術(shù)立場的確立對于實(shí)踐者來說是至關(guān)重要的。 本研究將“借用”現(xiàn)象限定在繪畫領(lǐng)域內(nèi)進(jìn)行探討。我們知道，任何現(xiàn)象都會(huì)因不同的視角而不止一次地被重新審視和定位，甚至引起爭議，正是這種包容性和對抗性的博弈為繪畫理論和實(shí)踐的發(fā)展開拓了無限的空間。繪畫中的“借用”現(xiàn)象極其普遍且多樣，其中既有圖像間的“借用”，又有形式語言的“借用”，還有題材的“借用”。模擬、移植和改造是形成“借用”現(xiàn)象的主要影響因素。繪畫的終極目的要落實(shí)到創(chuàng)作上，靠創(chuàng)作來體現(xiàn)。因此，以創(chuàng)作為基準(zhǔn)研究繪畫現(xiàn)象非常重要，也是十分必要的。本研究通過對繪畫中“借用”現(xiàn)象的層層分析，試圖去除其表面的遮蔽，進(jìn)而界定現(xiàn)象屬性間彼此的范疇和界限，并將其分為非創(chuàng)作狀態(tài)、準(zhǔn)創(chuàng)作狀態(tài)、亞創(chuàng)作狀態(tài)和創(chuàng)作狀態(tài)四種性質(zhì)類型。借此在繪畫藝術(shù)發(fā)展的自律與他律的交織中批判地反省，借鑒地吸收。在研究最后探討了繪畫中“借用”現(xiàn)象與藝術(shù)的本質(zhì)和創(chuàng)造力的關(guān)系，全文強(qiáng)化了畫家自主創(chuàng)作在繪畫中的重要性，并期冀喚起繪畫創(chuàng)作的精神重建，從而解決創(chuàng)作中的實(shí)際問題，實(shí)現(xiàn)藝術(shù)家自身確證的最大化。因?yàn)樗枷胧抢L畫的靈魂，人文精神是繪畫的體現(xiàn)，借助思維方式賦予繪畫以生命則是藝術(shù)永恒的主題。
[Abstract]:Art is the reflection of social ideology, it reflects the world in its unique way, and painting, as one of the categories, also has the attribute of spiritual production activities. However, painting is not a simple problem, it is often accompanied by the dilemma, resistance and forward coexistence. To some extent, the meaning of painting means the conquest of difficulties, the emergence of dilemmas is often brought about by thinking, it is accompanied by the possibility of rising. In the process, we can not bind ourselves, but to break the cocoon into butterflies. This involves the question of choice, which is conditional, that is, clarity of situation and awareness of the space for development. The amount of information conveyed by painting works is often less than its carrying capacity, and the amount of information can be roughly divided into two aspects for painting ontology, one is external information, that is, the empathy or synesthesia achieved through the breath of the works; On the other hand, it is the internal factor, that is, the relationship and source between the elements of painting itself. The analysis and grasp of the painting phenomenon will help us to be more sober and accurately position the painting works and painters. On this basis, the formation of artistic discrimination and the establishment of artistic position are of great importance to practitioners. In this study, the phenomenon of borrowing is limited to the field of painting. We know that any phenomenon will be re-examined and positioned more than once because of different perspectives, and even cause controversy. It is this kind of inclusive and confrontational game that opens up infinite space for the development of painting theory and practice. The phenomenon of "borrowing" in painting is extremely common and diverse, including "borrowing" between images, "borrowing" in formal language and "borrowing" on subject matter. Simulation, transplantation and transformation are the main factors influencing the formation of "borrowing" phenomenon. The ultimate aim of painting should be realized on creation and reflected by creation. Therefore, it is very important and necessary to study painting phenomenon on the basis of creation. Through the analysis of the phenomenon of "borrowing" in painting, this study tries to remove the shading of its surface, and then defines the categories and boundaries between the attributes of phenomena, and divides them into non-creative state and quasi-creative state. Sub-creation state and creation state are four kinds of nature types. In order to the development of painting art in the development of self-discipline and the interweaving of other laws critically introspection, draw lessons from the absorption. At the end of the study, the relationship between the phenomenon of "borrowing" in painting and the essence and creativity of art is discussed. The full text strengthens the importance of painters' independent creation in painting, and hopes to arouse the spiritual reconstruction of painting creation. In order to solve the actual problems in the creation, to maximize the artist's own corroboration. Because thought is the soul of painting, humanistic spirit is the embodiment of painting, giving life to painting by means of thinking is the eternal theme of art.
【學(xué)位授予單位】：天津大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王琳;被“借用”與“誤讀”的“身體寫作”[J];當(dāng)代文壇;2005年06期

2 閔卓;引用·借用·化用——略談中國文化傳統(tǒng)中有關(guān)知識(shí)產(chǎn)權(quán)的初始意識(shí)[J];東南大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2004年01期

3 羅天昱;鐘遠(yuǎn)波;;淺析繪畫和電影中的挪用[J];電影文學(xué);2009年22期

4 阿斯卡卡維力;;挪用在后現(xiàn)代藝術(shù)中的作用[J];大眾文藝;2010年20期

5 鄭海元,盧佳友;從美國購并浪潮看中國的借殼上市[J];福州大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2002年03期

6 何桂彥;;不能將“挪用”庸俗化[J];東方藝術(shù);2010年13期

7 楊簡茹;;藝術(shù)史經(jīng)典引發(fā)的當(dāng)代話題[J];東方藝術(shù);2012年09期

8 馮博一;石心寧;;移植的挪用與置換的篡改——關(guān)于石心寧的繪畫藝術(shù)[J];讀者欣賞(理論版);2012年01期

9 李艾 ,李莉;在借用中創(chuàng)新[J];發(fā)明與創(chuàng)新;2003年03期

10 王威;;淺議現(xiàn)代藝術(shù)中“剽竊”與“借用”[J];美術(shù)大觀;2006年12期

本文編號(hào)：2393642