绘画的时间性
发布时间：2019-03-17 14:02
【摘要】：本文首先对时间与时间性在概念上做出了区分,把自然科学的时间观与意识活动的内在时间性做出了对比。古希腊艺术把握住的是时间从过去向未来延伸的中继点,其中占据着时间的绵延厚度。古罗马艺术开始转向写实,时间表现为一个切面,其中不包含过去的回溯与未来的延展,在时间性上失去了厚度。文艺复兴发展出的焦点透视法、解剖学和明暗法则,把世界确定为与身体相对立的物质世界。印象派开始关注时间的表达,但是停留在时间的瞬间观念上,依然没有跳出自然科学的时间观。莫奈晚期的绘画在时间性上发生转向,为绘画注入了绵延的时间意识。塞尚的绘画排除了印象主义者描绘“瞬间”的观念,他捍卫了一种更为宽广的内在时间意识。他绘画中的时间性切近到古希腊雕塑与绘画在时间意义上的三位一体,体现在自然的直观中连接着曾在与将在的那个现在,是过去、未来与现在的统一交集。 现代艺术的时间观念普遍是将时间理解为空间中的运动,所以在现代派绘画上的反映就是立体派空间的多维综合与未来主义物体的连续运动形式,或者是抽象主义的观念抽取与音乐律动,以及超现实主义关于潜意识的梦境描绘。贾科梅蒂不满足于现代主义将时间作为一个观念去表述,他通过对时间的追问开始直面存在的问题。他并不仅仅是画出对象,而且还要画出自己的意识。他把时间、意识、现象统一在一起进行描绘,其画面不断生成的意识迹变在时间性上切近到古希腊之前的艺术时间观,即过去、未来于现在统一“到时”的存在。莫兰迪绘画艺术中那种反复的重温式描绘,勾连到古希腊绘画介于平面性与体积暗示之间的即将浮现状态,揭示出时间性的“待出”状态。 论文最后尝试性讨论了中国绘画中的时间性具有中道观的特征,古希腊艺术中运动与形式的中间状态与中国绘画的中道观在时间性上存在着可供对话的可能。
[Abstract]:This paper first makes a distinction between the concept of time and time, and makes a contrast between the view of time of natural science and the intrinsic temporality of conscious activities. Ancient Greek art grasped the relay point of time extending from the past to the future, which occupied the thickness of time. Ancient Roman art began to turn to realism, time represented as a cross-section, which does not include the past and the future of the extension of the past, lost thickness in time. The Renaissance developed a focus perspective, anatomy, and law of light and darkness, defining the world as a physical world opposed to the body. Impressionists began to pay attention to the expression of time, but remained in the instantaneous concept of time, and still did not jump out of the natural science view of time. Monet's late painting turned in time, which injected a continuous sense of time into the painting. Cezanne's paintings ruled out the impressionist notion of "instant" and defended a broader sense of inner time. The temporality of his paintings is close to the trinity of ancient Greek sculpture and painting in the sense of time, which is reflected in the intuition of nature connecting the present, the past, the future and the present, which is the unity of the past, the future and the present. The concept of time in modern art is generally understood as a movement in space, so the reflection in modernist painting is the multidimensional synthesis of stereo space and the continuous movement of futuristic objects. Or abstract ideas extraction and musical rhythm, and surrealist dream depiction of the subconscious. Instead of expressing time as a concept in modernism, Giacometti began to face up to existing problems by questioning time. He did not only draw objects, but also his own consciousness. He unified time, consciousness, and phenomenon together to depict, and his picture constantly generated consciousness trace to close to the time view of art before ancient Greece, that is to say, the past, the future unifies the existence of "time" at present. The repeated warm depiction in Morandi's painting art is linked to the imminent appearance of ancient Greek painting between planarity and volume hinting, revealing the temporal state of "waiting to be out". At the end of the paper, the author tries to discuss that the temporality of Chinese painting has the characteristics of middle-way view. There is a possibility of dialogue between the middle state of movement and form in ancient Greek art and the middle-way view of Chinese painting in time.
【学位授予单位】：中国美术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J205
本文编号：2442371
[Abstract]:This paper first makes a distinction between the concept of time and time, and makes a contrast between the view of time of natural science and the intrinsic temporality of conscious activities. Ancient Greek art grasped the relay point of time extending from the past to the future, which occupied the thickness of time. Ancient Roman art began to turn to realism, time represented as a cross-section, which does not include the past and the future of the extension of the past, lost thickness in time. The Renaissance developed a focus perspective, anatomy, and law of light and darkness, defining the world as a physical world opposed to the body. Impressionists began to pay attention to the expression of time, but remained in the instantaneous concept of time, and still did not jump out of the natural science view of time. Monet's late painting turned in time, which injected a continuous sense of time into the painting. Cezanne's paintings ruled out the impressionist notion of "instant" and defended a broader sense of inner time. The temporality of his paintings is close to the trinity of ancient Greek sculpture and painting in the sense of time, which is reflected in the intuition of nature connecting the present, the past, the future and the present, which is the unity of the past, the future and the present. The concept of time in modern art is generally understood as a movement in space, so the reflection in modernist painting is the multidimensional synthesis of stereo space and the continuous movement of futuristic objects. Or abstract ideas extraction and musical rhythm, and surrealist dream depiction of the subconscious. Instead of expressing time as a concept in modernism, Giacometti began to face up to existing problems by questioning time. He did not only draw objects, but also his own consciousness. He unified time, consciousness, and phenomenon together to depict, and his picture constantly generated consciousness trace to close to the time view of art before ancient Greece, that is to say, the past, the future unifies the existence of "time" at present. The repeated warm depiction in Morandi's painting art is linked to the imminent appearance of ancient Greek painting between planarity and volume hinting, revealing the temporal state of "waiting to be out". At the end of the paper, the author tries to discuss that the temporality of Chinese painting has the characteristics of middle-way view. There is a possibility of dialogue between the middle state of movement and form in ancient Greek art and the middle-way view of Chinese painting in time.
【学位授予单位】：中国美术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J205
【参考文献】
相关期刊论文 前1条
1 张俊;;塞尚绘画中的时间性[J];新美术;2010年02期
，本文编号：2442371
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