开与合—从“天井”的视觉表达谈抽象绘画的张力

发布时间：2018-08-18 09:04

【摘要】：中国南方传统民居——天井，纵向天开，横与外隔，无论在建筑布局形态、构建尺度、空间应用以及内在思想理念上的围与漏布局，都向人们展现了抽象绘画画面所具有的开与合应用。天井把物理性方面的实用功能,和观念上的心理需求完美的通过开与合布局完美的展现。而开与合是抽象绘画内在具有物理性的形式语言。源于对现实生活具象折射的抽象绘画，表达艺术家创作情感，是创作者结合自身感受，用造型元素对客观存在进行再创造的产物。表现形式各异的抽象绘画作品，以其独特的视觉感受刺激着人们的感观器官。每一个抽象艺术家都有一个属于自己的绘画形象观念，即绘画观念。绘画观念作为一种神秘存在，从简单的视觉刺激激起人们复杂的心灵联想空间。这神秘存在无论表现形态如何多异，都隐藏于画面内在的形式布局中，它并非一成不变，而是具有多样性。但无论形态如何变化万千都离不开画面的开合节奏。具有物理性的画面内在开合形式语言，给人以视觉的强烈感受，并产生心理上无限的张力。这种开合形式产生的张力感，，也存在于天井布局和建造的内在布局中，以及居住者的心理需求上。如建造天井的柱梁结构通过隼牟穿插在一起，无意中为我们营造出具有疏密、粗细、长短的尺度对比，纵横交错的柱梁布局形式也为我们带来具有抽象性的视觉和心理张力感。这对我们解读抽象绘画内在布局结构提供了参照依据。本文首先从解读纽约画派艺术家马克罗斯科、罗伯特马瑟韦尔和弗兰兹克兰的抽象绘画作品着手，论述他们画面所具有的开合布局形式以及蕴藏的强烈视觉张力。所以，文章后半部分从传统民居天井的围合与露天的建造布局形式分析入手，阐释出天井与抽象画面内在开合布局的相通性，讲述天井构建尺度所营造的建筑内在开合形制，尽管天井围漏与抽象开合的外在表现形式各异，两者在开与合的内在布局形式上皆蕴藏着无限的视觉张力，能带动人们视觉和心理上的连锁反应，由此进一步讲述抽象绘画给人带来的独特的视觉张力。同时，本文从绘画的视角，以天井的空间布局形态和结构穿插，对天井建造内在蕴含的开合进行研究分析，尝试探讨天井的内在开合与抽象绘画语言间的转换，以及开合布局对抽象绘画视觉张力的重要性。力图在中国传统元素与当代绘画转换与运用中寻找新的可能性。
[Abstract]:Traditional dwellings in southern China-patio, vertical open, horizontal and outer, no matter in the architectural layout form, construction scale, spatial application and internal ideas and ideas of the perimeter and leakage layout, Both show people the opening and closing application of abstract painting. The patio perfectly displays the practical physical functions and the psychological needs of the concept through opening and closing the layout. The opening and closing is the physical form language of abstract painting. Abstract painting, which reflects the concrete image of real life, expresses the artist's creative emotion, which is the product that the creator recreates the objective existence with the styling elements combined with his own feeling. Abstract paintings with different forms stimulate people's sensory organs with their unique visual feelings. Every abstract artist has his own concept of painting image, that is, painting concept. Painting concept, as a mysterious existence, arouses people's complex mind associative space from simple visual stimulation. This mysterious existence, no matter how different the manifestation, is hidden in the internal form layout of the picture, it is not fixed, but has diversity. However, no matter how the shape changes can not be separated from the opening and closing rhythm of the picture. The internal opening and closing formal language of the physical picture gives people a strong sense of vision and produces infinite psychological tension. The tension produced by this opening and closing form also exists in the inner layout of the patio layout and construction, as well as the psychological needs of the occupants. For example, the column beam structure of building patio is interspersed with each other by peregrine, which inadvertently creates a scale contrast with density, thickness and length for us, and the staggered layout of column beam also brings us a sense of visual and psychological tension with abstract nature. This provides a reference for us to interpret the internal layout structure of abstract painting. This paper begins with the interpretation of abstract paintings by New York artists Mark Roscoe, Robert Maserwell and Franz Crane, and discusses the opening and closing layout and the strong visual tension contained in their paintings. Therefore, the second half of the article starts with the analysis of the construction layout of the traditional residential patio and open pit, explains the similarity between the opening and closing layout of the patio and the abstract picture, and describes the opening and closing shape of the building created by the building scale of the patio. Although the external manifestations of the open and close of the patio are different, both of them contain infinite visual tension in the internal layout of opening and closing, which can lead to the chain reaction of people's vision and psychology. This further tells the abstract painting to bring the unique visual tension. At the same time, from the perspective of painting, this paper studies and analyzes the opening and closing inherent in the patio construction by means of the spatial layout form and structure of the patio, and tries to explore the conversion between the inner opening and closing of the patio and the abstract painting language. And the importance of opening and closing layout to the visual tension of abstract painting. Try to find the new possibility in the transformation and application of Chinese traditional elements and contemporary painting.
【学位授予单位】：中国美术学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J205

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