中国现当代具象绘画中的符号研究

发布时间：2018-08-29 12:28

【摘要】：本文是从符号的定义出发，通过符号学美学来分析作品，探究符号在现当代具象绘画作品中的表达。符号在具象绘画中有着举足轻重的作用，它包括了在具象绘画中所要表达的精神、意境等深刻的含义。视觉符号能指所承载的是存在价值的基础，创作主体的思想情感只有通过视觉符号才能得以呈现。欣赏者所解读到的创作者的审美信息，精神情感信息以及其它隐含的信息都要通过视觉符号的能指层面来承载。枯燥无味不是艺术作品的再现，常常需要暗示的。绘画作品中的视觉符号是作者表达和审美的精神载体。视觉符号弥补了我们表达上的缺失，承载了主体的精神指向，同时也作为有意味的形式的绘画艺术的能指的形态存在。在今天，具象绘画中符号的运用呈现多元化和个性化特征，对主体精神外化所呈现出来的种种特点来进行研究是十分必要的。绘画创作者对他自己的作品中符号的能指与所指的指定，决定了绘画作品中符号的意指表现。在具象绘画中符号的描绘，己经包括了作者的情感、周围的环境，各种花草树木、动物。本论文是从创作者的角度出发来进行剖析，对画面中所要表现的形象及所使用的有关艺术符号等问题进行阐释，是从具象绘画的角度对作品中的视觉符号综合把握。换句话说，绘画创作的过程本质上是绘画创作者利用符号自身的特点，通过对画面中符号的建构，将创作者想要在绘画中所要表达的意思有机转化成视觉符号的组合，这样带有创作者强烈个人风格的艺术符号就产生了。当带有一种符号化的绘画方式在人们的头脑中有一隅之地的时候，艺术家才有可能走出来。通过对符号的运用进行思考，把控住商业和艺术的关系，认识到技艺的重要性，对重构艺术的评价标准与价值取向有着重要的是意义。个人艺术创作中的符号或风格是一个长期的艰苦探索历程，是艺术创作走向成熟的标志。每一个成功的艺术家都会有着属于他本人固定的绘画方式，但是作为一个成功的艺术创作者并不只是对他以前绘画方式无休止、无止境的模仿与复制，艺术家与他的绘画方式之间存在的是一种互为标签的关系。符号抽空了一切思想涵指，复制消解了一切技术难度，而艺术家由此既消解了他所描摹的事物，也消解了艺术家本人的身份认可。但是使一种符号长久的使用且具有不竭的艺术生命力，艺术家就需要在保持自身某一独特艺术符号的同时，适时的添加一些新的艺术符号在自己的作品中，把一些失去生命力的旧符号做适当的变革。中国走向当代艺术是中国艺术史中的一个特殊阶段，受当时政治环境，，经济因素，以及文化方面的影响，中国现当代艺术中出现了一种特殊的创作流派，作为前卫艺术的代表，有着非同寻常的意义。本文以被称为现当代绘画中的“F4”的张晓刚、方力钧、岳敏君、王广义为例，以他们的画册、传记、谈话录等为资料，从他们的生存环境、创作经历、艺术成果等方面展开整理、分析，试图找出特定时代具象绘画符号在艺术家创作中的个性和共性，对艺术史的研究将会有一定的意义。艺术符号是个人的同时又是时代的。说它是个人的，是因为每个艺术家在对时代的认识和体验中都包含有个人的经验；说它是社会的，是因为每一个艺术家在创作艺术作品时都离不开社会大环境。艺术符号是一种时代问题的象征符号，这些符号又如此真切地象征着这个特定时代人们的文化心态，这都将不可避免地成为现当代观念艺术的某种代言。本文针对现当代具象绘画中“符号化”的现象所面临的诸多困境进行了反思，并对现当代具象绘画的发展前景作出了大胆的展望。
[Abstract]:Starting from the definition of symbols, this paper analyzes works through semiotic aesthetics and explores the expression of symbols in modern and contemporary concrete paintings. Symbols play an important role in concrete paintings, including the profound meanings of the spirit and artistic conception to be expressed in concrete paintings. The signifier of visual symbols bears the existential value. The aesthetic information, spiritual and emotional information and other implicit information of the creator interpreted by the appreciator should be carried through the signifier level of the visual symbols.
Boredom is not the reproduction of works of art, often need to be implied. Visual symbols in paintings are the spiritual carrier of the author's expression and aesthetics. Visual symbols make up for the lack of our expression, bearing the spiritual direction of the subject, but also as a meaningful form of painting art signifier form of existence.
Nowadays, the use of symbols in representational paintings is characterized by diversification and individualization. It is necessary to study the various characteristics of the externalization of the main spirit. The designation of the signifier and signifier of the symbols in his own works by the painter determines the expression of the signifier of the symbols in the paintings. The description of the title has already included the author's feelings, surroundings, flowers, trees, animals. This paper is to analyze the image to be displayed in the picture and the related artistic symbols used to explain the problem from the perspective of the creator. It is a comprehensive grasp of the visual symbols in the works from the perspective of concrete painting. In other words, the process of painting is essentially a process in which the artist uses the characteristics of the symbols themselves, through the construction of symbols in the picture, the meaning that the creator wants to express in the painting is organically transformed into a combination of visual symbols, so that the artistic symbols with the strong personal style of the creator are produced. Only when the way of painting is in a corner of people's mind can the artist come out. It is of great significance to reconstruct the evaluation criteria and value orientation of art by thinking about the use of symbols, controlling the relationship between commerce and art, and recognizing the importance of art.
Symbol or style in individual artistic creation is a long and arduous course of exploration and a sign of maturity of artistic creation. Every successful artist will have his own fixed way of painting, but as a successful artist, he is not only endless imitation and endless imitation of his previous way of painting. There is a label-to-label relationship between the artist and his way of painting.Symbols empty all ideological connotations and duplicate all technical difficulties.The artist thus dissolves both what he describes and the identity of the artist himself. Artistic vitality, artists need to maintain their own unique artistic symbols at the same time, add some new artistic symbols in their own work, some of the old symbols lost vitality to make appropriate changes.
Chinese contemporary art is a special stage in the history of Chinese art. Influenced by the political environment, economic factors and culture of that time, a special school of creation emerged in Chinese contemporary art. As a representative of avant-garde art, it has extraordinary significance. Zhang Xiaogang, Fang Lijun, Yue Minjun and Wang Guangzhi are taken as examples. Taking their picture albums, biographies and conversation recordings as materials, their living environment, creative experience and artistic achievements are sorted out and analyzed in an attempt to find out the individuality and commonality of the concrete painting symbols in the artists'creation of a particular era. The study of the art history will have certain significance. Righteousness.
Art symbols are both individual and epochal. They are personal because each artist has his own experience in his understanding and experience of the times. They are social because every artist can not create art without the social environment. These symbols symbolize the cultural mentality of people in this particular era, which will inevitably become a kind of representative of modern and contemporary conceptual art. This paper reflects on the plight of symbolization in contemporary and contemporary concrete painting, and makes a prospect for the development of contemporary and contemporary concrete painting. Bold vision.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J205

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