本文選題：鏡像反射 + Hughes�。� 參考：《美術(shù)研究》2015年01期

【摘要】：正通常意義上,攝影被認(rèn)作是對現(xiàn)實世界的鏡像反射和客觀復(fù)制。在攝影圖式的建構(gòu)中,圖像與其指示的意念之間的關(guān)系不是一次轉(zhuǎn)化,而是一次"注冊",這一過程凸顯了攝影作為"自然畫筆"的神話。然而,這種客觀性一經(jīng)"選擇",人的主觀成分就介入進(jìn)來,從而超越純粹的復(fù)制自然,在視覺的表述中完成了對所見的闡釋。美國攝影家C·杰貝茲·休斯(C.Jabez Hughes)1861年寫的文章中曾指出"當(dāng)藝術(shù)家對完全按照自然事物發(fā)生的方式去理解事物感到不滿時,他們便利用排列組
[Abstract]:In general, photography is regarded as a mirror reflection and objective reproduction of the real world. In the construction of photographic schema, the relationship between image and its indicative idea is not a transformation, but a "registration", which highlights the myth of photography as a "natural brush". However, as soon as this objectivity is "chosen", the subjective element of human is involved, thus transcending the pure reproduction of nature and completing the interpretation of what is seen in the visual expression. The American photographer C. Jabez Hughes wrote an article in 1861 that states that "when artists are dissatisfied with the way in which natural things are understood, they use groups."
【作者單位】： 浙江財經(jīng)大學(xué)藝術(shù)學(xué)院;
【分類號】：J405
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本文編號：2027452