像與象—西方肖像畫的時代性芻議
發(fā)布時間：2018-10-05 07:33
【摘要】：西方肖像畫有著悠久的歷史，從最初依附于宗教畫而存在，到最后與之分離形成一個獨立的畫種。此后在漫長的發(fā)展過程中，逐步形成了多種流派與風(fēng)格。一幅優(yōu)秀的肖像作品，是對表現(xiàn)對象的個性特征和內(nèi)心世界最富典型意義的寫照，應(yīng)該具有獨特的藝術(shù)魅力，并能引起觀者的共鳴、打動人心。所以說，那些具有不朽藝術(shù)生命力的肖像畫之所以能夠流傳千古就不足為奇了�？墒且_到這樣的藝術(shù)水準(zhǔn)，畫家除了要具有高超的表現(xiàn)技巧還要求畫家在創(chuàng)作的過程中能夠深入表現(xiàn)對象的內(nèi)心世界，與之共鳴，與之交感，從而使得創(chuàng)作得到升華。也就是說，肖像畫除了要具備表面生理之“像”還要求表現(xiàn)內(nèi)在精神之“象”。但是不同時期的肖像畫其所表現(xiàn)的側(cè)重點又有所不同，這就要求要站在肖像畫發(fā)展的時代性的角度去觀賞和分析。 傳統(tǒng)的肖像畫主要是為宗教以及統(tǒng)治者服務(wù)的，受“模仿論”等哲學(xué)思想的影響以及肖像畫的功利性和記錄性的功能，從文藝復(fù)興以后到19世紀(jì)之前的肖像畫都是以再現(xiàn)人物面部特征為主要手段。當(dāng)然，一幅優(yōu)秀的肖像畫，要想得到人們的贊賞，除了“像”更重要的一點還要傳達情感。 第二次工業(yè)革命后，照相機的出現(xiàn)，使得肖像畫那種鏡子般的寫實感被取代。這時的肖像畫不再是欽命或訂件，藝術(shù)家們也不再去刻意的表現(xiàn)上帝、宗教和神，而是從生活出發(fā)，更多的變成了宣揚自我、追求個性、創(chuàng)造新形式、表達新內(nèi)容以及近乎瘋狂的個人體驗和精神選擇。他們不斷的去挖掘與人最相關(guān)和最根本的東西，甚至脫離了物質(zhì)生活的形式。這時，肖像畫中的“像”已變得不那么重要，重要的是他們所表達的內(nèi)容。西方現(xiàn)代肖像畫把藝術(shù)作品的創(chuàng)造性提高到了空前的高度，并且不遺余力的追求藝術(shù)的純粹性，極具個性的作品與傳統(tǒng)肖像畫中那種極力迎合贊助人品味的受命之作形成了鮮明的對比。 20世紀(jì)60年代后人們對文化消費品的需求量激增，，整個社會開始進入到大眾文化發(fā)展時期。寬松的政治環(huán)境，高等教育的普及，社會財富的不斷積累，都為西方當(dāng)代藝術(shù)的多元化發(fā)展提供了廣闊的空間。當(dāng)代肖像畫中的“像”與“象”是混雜的，既有純粹不表達任何的情感的機械性描摹，也有對當(dāng)代人性的精神思考，我們不能說更偏向于哪一個，但是我認(rèn)為當(dāng)代肖像畫更能與人們所處的時代相拼接，它更多的是個人在自我體驗和個性化的形式之下表達出來的人們的生活困境和精神疑惑。
[Abstract]:Western portraits have a long history, from the initial dependence on religious painting and existence, to the final separation from it to form an independent kind of painting. Since then, in the long process of development, gradually formed a variety of schools and styles. An excellent portrait works is the most typical portrayal of the personality characteristics of the objects of expression and the inner world. It should have unique artistic charm, and it can arouse the sympathy of the viewers and move the hearts of the people. So it is not surprising that portraits with immortal artistic vitality can be spread forever. However, in order to achieve such an artistic standard, the painter should not only have superb performance skills, but also require the painter to be able to penetrate into the inner world of the object of expression in the process of creation, to resonate with it, and to interact with it, thus making the creation sublimated. That is to say, the portrait should not only possess the physiologic image, but also the inner spirit. However, the emphasis of portraits in different periods is different, which requires viewing and analyzing from the perspective of the development of portraits. Traditional portraits are mainly for the service of religion and rulers, influenced by philosophical ideas such as "imitation theory", as well as the utilitarian and recorded functions of portraits. Portraits from the Renaissance to the 19 th century are mainly used to reproduce the facial features of the characters. Of course, a good portrait, in order to get people's appreciation, in addition to the "like" more important point, but also convey emotion. After the second Industrial Revolution, the advent of cameras replaced the mirror-like realism of portraits. At this time, the portraits are no longer predestined or ordered, and artists no longer deliberately express God, religion and God, but from the point of view of life, more become preaching themselves, pursuing individuality, and creating new forms. Express new content and almost crazy personal experiences and spiritual choices. They constantly dig for the most relevant and fundamental things, even out of the form of material life. At this time, the portrait of the "image" has become less important, the important thing is what they express. Western modern portraits have raised the creativity of works of art to an unprecedented height, and spared no effort to pursue the purity of art. The highly individualized works are in sharp contrast to the traditional portraits that cater to the tastes of the patron. After 1960's, people's demand for cultural consumer goods increased sharply, and the whole society began to enter the period of mass culture development. The loose political environment, the popularization of higher education and the accumulation of social wealth provide broad space for the diversified development of western contemporary art. The "image" and "elephant" in contemporary portraits are mixed. They are not only mechanically depicted without expressing any emotion, but also have spiritual thinking about contemporary human nature. We cannot say which one is more biased. But I think contemporary portraits can be more connected with the times people live in, it is more personal in the form of self-experience and personalized expression of the plight of people's lives and spiritual doubts.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J211.25
本文編號：2252536
[Abstract]:Western portraits have a long history, from the initial dependence on religious painting and existence, to the final separation from it to form an independent kind of painting. Since then, in the long process of development, gradually formed a variety of schools and styles. An excellent portrait works is the most typical portrayal of the personality characteristics of the objects of expression and the inner world. It should have unique artistic charm, and it can arouse the sympathy of the viewers and move the hearts of the people. So it is not surprising that portraits with immortal artistic vitality can be spread forever. However, in order to achieve such an artistic standard, the painter should not only have superb performance skills, but also require the painter to be able to penetrate into the inner world of the object of expression in the process of creation, to resonate with it, and to interact with it, thus making the creation sublimated. That is to say, the portrait should not only possess the physiologic image, but also the inner spirit. However, the emphasis of portraits in different periods is different, which requires viewing and analyzing from the perspective of the development of portraits. Traditional portraits are mainly for the service of religion and rulers, influenced by philosophical ideas such as "imitation theory", as well as the utilitarian and recorded functions of portraits. Portraits from the Renaissance to the 19 th century are mainly used to reproduce the facial features of the characters. Of course, a good portrait, in order to get people's appreciation, in addition to the "like" more important point, but also convey emotion. After the second Industrial Revolution, the advent of cameras replaced the mirror-like realism of portraits. At this time, the portraits are no longer predestined or ordered, and artists no longer deliberately express God, religion and God, but from the point of view of life, more become preaching themselves, pursuing individuality, and creating new forms. Express new content and almost crazy personal experiences and spiritual choices. They constantly dig for the most relevant and fundamental things, even out of the form of material life. At this time, the portrait of the "image" has become less important, the important thing is what they express. Western modern portraits have raised the creativity of works of art to an unprecedented height, and spared no effort to pursue the purity of art. The highly individualized works are in sharp contrast to the traditional portraits that cater to the tastes of the patron. After 1960's, people's demand for cultural consumer goods increased sharply, and the whole society began to enter the period of mass culture development. The loose political environment, the popularization of higher education and the accumulation of social wealth provide broad space for the diversified development of western contemporary art. The "image" and "elephant" in contemporary portraits are mixed. They are not only mechanically depicted without expressing any emotion, but also have spiritual thinking about contemporary human nature. We cannot say which one is more biased. But I think contemporary portraits can be more connected with the times people live in, it is more personal in the form of self-experience and personalized expression of the plight of people's lives and spiritual doubts.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J211.25
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