本文選題：杉本博司 + 攝影　； 參考：《山東工藝美術(shù)學院》2017年碩士論文

【摘要】：杉本博司是一位對亞洲乃至世界范圍內(nèi)都非常有影響力的攝影家,對當今影像的發(fā)展做出了極大的貢獻。在1975年第一部作品《透視畫館》被美術(shù)館認可之后便開啟了其真正的影像藝術(shù)生涯,伴隨著《海景》、《劇院》、《佛�！芳啊蛾庺瓒Y贊》等作品的誕生,使其在攝影藝術(shù)領(lǐng)域的地位不斷提高,多次斬獲國際范圍內(nèi)的攝影大獎。杉本博司的影像在以時間作為首要思考方式的基礎(chǔ)上,不斷嘗試著屬于他個人的“造像”表現(xiàn)手法,使不同系列的作品表現(xiàn)出豐富地藝術(shù)性與多樣性,簡單的畫面背后卻蘊藏著他對歷史對記憶的一種思考方式,而這種思考方式恰恰是通過其獨特的表現(xiàn)手法來向人們展現(xiàn)的。在對杉本博司進行大量的文獻研究和整理的基礎(chǔ)上,本文選取其具有代表性的影像作品進行分析與解讀,從而對他“造像”的影像表現(xiàn)手法進行分析。本文總共分為五個部分:第一章主要是介紹攝影在當今的一種存在面貌以及確立一個明確的攝影造像的概念,從而使造像與攝影真正可以產(chǎn)生聯(lián)系。第二章是對杉本博司的一個影像的概述,從他的成長經(jīng)歷、拍攝主題和對攝影的執(zhí)著三個方面對其進行一個全方位的闡述,以便了解其造像的背景。第三章則是在其影像的基礎(chǔ)上對他的作品進行一個歸納式的剖析,從東西方的成長影響、運動與靜止、簡單事物的影像與被升華的物哀這四個角度,從而對杉本博司造像表現(xiàn)下的影像語境進行解讀。第四章是梳理杉本博司造像手法下的影像構(gòu)建,對他眾多作品進行梳理尋找共性。將整理后得出的“無現(xiàn)實”的影像、模糊的影像及不可見的影像這三個方面來進行論述。第五章是在本文前幾部分對杉本博司的造像表現(xiàn)手法的研究后所進行總結(jié),主要圍繞杉本博司的影像對當今攝影所帶來的意義,突出造像這一表現(xiàn)手法的重要性。探究杉本博司的影像可以使我們更好的學習和借鑒他的造像方式,在這個基礎(chǔ)上不斷發(fā)展,讓越來越多的攝影人擁有屬于自己的造像手段。杉本博司打破了攝影表現(xiàn)的單一性,豐富了攝影語言的形成,祈合了當今攝影發(fā)展成為媒介語言的方向,使我們更好地掌握并應(yīng)用這門藝術(shù)表達思想。
[Abstract]:Sugimoto is a very influential photographer in Asia and the world, and has made great contributions to the development of today's images. After his first work, the Pivotology Museum, was approved by the Art Museum in 1975, he began his real career in image art, with the birth of Seaview, Theater, Fohai and praise of Yanyi, and so on. So that its position in the field of photography continues to improve, many times won the international photography awards. On the basis of taking time as the first way of thinking, Sugimoto's images are constantly trying his own "portrait" expression techniques, so that different series of works show rich artistry and diversity. Behind the simple picture, however, there is a way of thinking about the memory of history, and this way of thinking is displayed to people through its unique means of expression. On the basis of a great deal of literature research and collation, this paper selects his representative image works to analyze and interpret, and then analyzes his image expression techniques. This paper is divided into five parts altogether: the first chapter mainly introduces a kind of present appearance of photography in the present and establishes a clear concept of photographic image, so that the image and photography can really be connected. The second chapter is an overview of an image of Sugimoto, from his growing up experience, shooting theme and his dedication to photography, in order to understand the background of his portrait. The third chapter is an inductive analysis of his works on the basis of his images, from the four angles of the influence of the growth of the East and the West, the movement and stillness, the image of simple things and the sorrow of the sublimated objects. In order to interpret the image context under the image performance of Sugimoto. The fourth chapter is combing the image construction of Sugimoto, looking for the commonness of his many works. The unreal image, fuzzy image and invisible image are discussed. The fifth chapter is a summary of the study of the image presentation techniques of Sugamoto in the first part of this paper, mainly focusing on the significance of the image of Sugimoto to today's photography, highlighting the importance of this technique. Exploring Sugimoto's image can make us learn and learn from his image way better. On this basis, more and more photographers have their own image means. Sugimoto has broken the singularity of photography, enriched the formation of photography language, and developed photography into a medium language, which makes us better grasp and apply this art to express our thoughts.
【學位授予單位】：山東工藝美術(shù)學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J405

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