浅析里希特图像绘画方法论对中国当代绘画的启示
发布时间：2019-06-24 20:57
【摘要】：格哈德·里希特(Gerhard Richter)作为享誉国际的后现代艺术家早已被介绍进中国,也形成了大量关于他的研究论著,他的图像绘画中近乎真实而又使观者保持距离的摄影照片效果给人们留下了深刻的印象。回溯美术史,绘画艺术在东西方遭遇了两种不同的发展境况:近现代的中国,徐悲鸿把法国古典主义带到中国,具象绘画成为中国近现代绘画发展的主线,并深刻影响了学院的教育和绘画中对图像的运用。20世纪60年代,达达以后的欧洲,再现式的绘画逐渐失去了艺术中的主流地位,然而德国艺术家格哈德·里希特却用他鲜明的照片绘画给绘画注入了新的活力。当里希特的图像绘画传播到中国当代绘画的视野中,成为了艺术家们挪用或使用图像的参考依据。这样的现象是否造成了一种误解,绘画成为了图像生产的手段而失去了作为一门艺术的独立性?格哈德·里希特的图像绘画素材来源于平时收集的简报和杂志的图片,他强调是无主题无意识的去收集的,但在其后的研究中发现,这样的图片是形成一定逻辑线索的,在里希特的图像绘画之中,他使用一种模糊画面的语言来制造出一种距离感,他用绘画来制造另一个客观现实,但这个客观现实又是和现实的某一事件,甚至是生活息息相关的,可以这样说,他的图像绘画并没有凭空主观的创造,而是取材于现实之中制造的另一个现场,这个现场脱离于真实的生活和事件,但这种脱离不是单纯的扬弃,而是和现实保持一定的距离。这种距离也是里希特绘画方法论中的核心,“真实的”摄影图片反而激发了观者质疑的内省,于是绘画的所指在这一刻体现,“真相”成为缺席。文中以格哈德·里希特的图像绘画作为举例,从艺术家借用摄影图片进行绘画的创作方法论反思中国当代绘画中的图像现实。溯源美术史上西方绘画经历了人文主义时期模仿现实和科学再现,直到现代主义解放了绘画作为再现记录的功能,试图清晰里希特图像绘画跟传统再现性绘画的差别,分析里希特图像绘画背后的方法论因素,引出图像绘画中的“绘画性”。例证“绘画性”与图像泛滥的今天所存关系。图像绘画中的“绘画性”的提出,也许能给当代绘画在信息时代找到独立于图像生产的价值,绘画虽然作为一门视觉艺术,但它不是简单的视觉刺激,它的内涵应该像交响乐的奏乐,需要训练,协调,体验,绘画性也许是使得绘画实现这一功能的通道。图像绘画对摄影图片的运用得以和媒体图像生产区别开来,图像成为结果,绘画成为目的。这些问题正是从里希特图像绘画的脉络中启发我们的,图像并不是绘画的目的,只有让绘画成为能指,其它的图像表征成为所指,当代图像绘画才有其继续发展的依据。
[Abstract]:Gerhard Richter (Gerhard Richter), as an internationally renowned postmodern artist, has long been introduced into China and has formed a large number of research works about him. His photo effects, which are almost real in his image painting and keep the viewer distance, have left a deep impression on people. Looking back on the history of art, painting art encountered two different development situations in the East and the West: in modern China, Xu Beihong brought French classicism to China, concrete painting became the main line of the development of modern Chinese painting, and had a profound impact on the education of the college and the use of images in painting. In the 1960s, after Dada in Europe, reproducing painting gradually lost its mainstream position in art. However, the German artist Gerhard Richter injected new vitality into the painting with his distinctive photo painting. When Richter's image painting spread to the vision of Chinese contemporary painting, it became the reference basis for artists to misappropriate or use images. Has this phenomenon caused a misunderstanding that painting has become a means of image production and lost its independence as an art? Gerhard Richter's image painting material comes from briefing notes and magazine pictures collected in peacetime. He emphasizes that it is unconsciously collected without a subject, but in subsequent research, it is found that such pictures form certain logical clues. In Richter's image painting, he uses a vague picture language to create a sense of distance, and he uses painting to create another objective reality. However, this objective reality is closely related to a certain event of reality, or even life. It can be said that his image painting is not created out of thin air, but is based on another scene created in reality. This scene is separated from real life and events, but this separation is not simply sublimation, but to maintain a certain distance from reality. This distance is also the core of Richter's painting methodology. Instead, the "real" photographic picture inspires the viewer to question the introspect, so the meaning of the painting is reflected at this moment, and the "truth" becomes absent. Taking Gerhard Richter's image painting as an example, this paper reflects on the image reality in Chinese contemporary painting by using the creative methodology of photography by artists. In the history of tracing back to the origin of art, western painting experienced the period of humanism to imitate reality and scientific reproduction, until modernism liberated the function of painting as a reproduction record, tried to clarify the difference between Richter image painting and traditional reproducibility painting, analyzed the methodological factors behind Richter image painting, and led to the "painting" in image painting. Illustrate the relationship between painting and the proliferation of images today. The proposal of "painting" in image painting may find the value independent of image production for contemporary painting in the information age. Although painting is a visual art, it is not a simple visual stimulus, its connotation should be like symphony music, need training, coordination, experience, painting may be the channel for painting to achieve this function. The application of image painting to photography can be distinguished from the production of media image, image becomes the result, painting becomes the purpose. These problems enlighten us from the context of Richter image painting. Image is not the purpose of painting. Only by making painting become signifier and other image representation as signifier can contemporary image painting have its basis for its continued development.
【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】：J205
[Abstract]:Gerhard Richter (Gerhard Richter), as an internationally renowned postmodern artist, has long been introduced into China and has formed a large number of research works about him. His photo effects, which are almost real in his image painting and keep the viewer distance, have left a deep impression on people. Looking back on the history of art, painting art encountered two different development situations in the East and the West: in modern China, Xu Beihong brought French classicism to China, concrete painting became the main line of the development of modern Chinese painting, and had a profound impact on the education of the college and the use of images in painting. In the 1960s, after Dada in Europe, reproducing painting gradually lost its mainstream position in art. However, the German artist Gerhard Richter injected new vitality into the painting with his distinctive photo painting. When Richter's image painting spread to the vision of Chinese contemporary painting, it became the reference basis for artists to misappropriate or use images. Has this phenomenon caused a misunderstanding that painting has become a means of image production and lost its independence as an art? Gerhard Richter's image painting material comes from briefing notes and magazine pictures collected in peacetime. He emphasizes that it is unconsciously collected without a subject, but in subsequent research, it is found that such pictures form certain logical clues. In Richter's image painting, he uses a vague picture language to create a sense of distance, and he uses painting to create another objective reality. However, this objective reality is closely related to a certain event of reality, or even life. It can be said that his image painting is not created out of thin air, but is based on another scene created in reality. This scene is separated from real life and events, but this separation is not simply sublimation, but to maintain a certain distance from reality. This distance is also the core of Richter's painting methodology. Instead, the "real" photographic picture inspires the viewer to question the introspect, so the meaning of the painting is reflected at this moment, and the "truth" becomes absent. Taking Gerhard Richter's image painting as an example, this paper reflects on the image reality in Chinese contemporary painting by using the creative methodology of photography by artists. In the history of tracing back to the origin of art, western painting experienced the period of humanism to imitate reality and scientific reproduction, until modernism liberated the function of painting as a reproduction record, tried to clarify the difference between Richter image painting and traditional reproducibility painting, analyzed the methodological factors behind Richter image painting, and led to the "painting" in image painting. Illustrate the relationship between painting and the proliferation of images today. The proposal of "painting" in image painting may find the value independent of image production for contemporary painting in the information age. Although painting is a visual art, it is not a simple visual stimulus, its connotation should be like symphony music, need training, coordination, experience, painting may be the channel for painting to achieve this function. The application of image painting to photography can be distinguished from the production of media image, image becomes the result, painting becomes the purpose. These problems enlighten us from the context of Richter image painting. Image is not the purpose of painting. Only by making painting become signifier and other image representation as signifier can contemporary image painting have its basis for its continued development.
【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】：J205
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