博物学插图在当代语境下的延伸

发布时间：2018-05-05 17:44

本文选题：图鉴 + 形象　；参考：《四川美术学院》2017年硕士论文

【摘要】：博物学作为自然科学研究的四大传统之一,可以说在人类文明的身份构建中有着无可置疑的重要性,而图鉴式绘画在摄影技术还未问世的漫长历史中,通过知识的传播点滴地塑造了人类“自身”的概念;而随着科技的不断发展,我们对身处的世界了解不断加深,再加上客观上图像生产越来越便利,博物学图像完成了向“科学图解”的转变,成为了无限的图像数据库中的一个小小的子集。如果仔细观察我们自身的文化历史,可以察觉到一条相当隐秘而连续的博物学传统脉络,在中国古代文化中,这种博物学传统可以视为一种世界观,以《梦溪笔谈》《山海经》《博物志》为中心,呈现出一种“能够容忍怪力乱神的博物学传统”,而同处汉字文化圈的邻国日本,博物学插图的影响则摆脱了儒学思想的禁锢,发展得更为深远,通过《百鬼夜行抄》《鸟兽人物戏画》再到动漫美学的发展,深刻地影响了战后世界文化的格局。同时而西方哲学与科学除了柏拉图传统(后来发展为数理传统)以外,还有亚里士多德传统(后来发展为经验传统或者博物传统),即使从博物学插图这一分类来说,图鉴式的艺术作品一向被认为不够纯粹,也不是艺术史中占有特别分量的一个门类,但却在文艺复兴等重要时期占有无法忽视的地位,甚至可以说是其精神的绝对注脚,在文艺复兴后对西方的整个艺术史发展也起到了极为重要的推动作用,我相信在当代语境下,这一艺术形式值得引入更多的思考。可以说在现代社会职业无限细分和学科专业化的情况下,当代艺术家需要一点过时的,百科全书式的博物学体验。幸运的是,当代艺术家中不乏有从博物学图像中汲取养分的个案可供分析。因此,本文意欲探讨博物学插图对东西方绘画艺术可能产生的影响以及东西方绘画在其影响下的具体呈现,我将主要从三个部分进行论述:一是从传统的形式分析出发,讨论图博物学图像插图在图像学领域中对“形象”这一概念产生的影响。二是从“平面性”的角度分析图鉴式绘画在东西方艺术史中的具体呈现。三是在现当代符号学语境下探讨博物学图像是否可以作为一种美学形式与新的媒介进行结合并为视觉艺术的发展提供新的视角。
[Abstract]:As one of the four traditions in the study of natural science, history can be said to have an indisputable importance in the construction of the identity of human civilization, while pictorial painting has not yet come into being in the long history of photography. Through the spread of knowledge, the concept of human "self" has been shaped bit by bit, and with the development of science and technology, our understanding of the world in which we live has been deepened and, objectively, the production of images has become more and more convenient. The history image has completed the transformation to the "scientific diagram", has become a small subset of the infinite image database. If we look closely at our own cultural history, we can detect a rather secretive and continuous tradition of historical history, which in ancient Chinese culture can be regarded as a world view. Centered on the History of Mountains and Seas, there is a kind of "heritage of history that can tolerate strange powers and confusion of gods", while the influence of illustrations in the same cultural circle of Chinese characters in Japan has freed itself from the imprison of Confucianism. The further development, through "hundred ghost night walk copy" "bird and beast character play painting" to the animation aesthetics development, has profoundly influenced the postwar world culture pattern. At the same time, Western philosophy and science, in addition to Plato's tradition (later developed into mathematical tradition), there is Aristotle tradition (later developed into empirical tradition or historical tradition), even from the classification of historical illustrations. Pictorial works of art have always been considered to be not pure enough and not a category with special weight in the history of art, but they have occupied a position that cannot be ignored in important periods such as the Renaissance, or even an absolute footnote to their spirit. After the Renaissance, it also played a very important role in the development of the whole history of art in the West. I believe that in the contemporary context, this art form is worthy of more consideration. It can be said that contemporary artists need a little outdated, encyclopedic experience of history under the circumstances of infinite division of occupation and specialization of disciplines in modern society. Fortunately, there are many examples of contemporary artists who draw nutrients from historical images. Therefore, this paper intends to explore the possible impact of historical illustrations on the art of painting between the East and the West, as well as the specific presentation of the paintings of the East and the West under its influence. I will mainly discuss the following three parts: first, from the perspective of traditional form analysis, This paper discusses the influence of pictorial illustrations on the concept of "image" in the field of graphology. The second is to analyze the concrete presentation of pictorial painting in the history of eastern and western art from the point of view of "planarity". Third, in the context of modern and contemporary semiotics, it is possible to explore whether the historical image can be combined as an aesthetic form with a new medium and provide a new perspective for the development of visual art.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J218.5

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