| 绘画艺术的美学问题 |
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| 引用本文： | 郭勇健.绘画艺术的美学问题[J].厦门大学学报(哲学社会科学版),2011(5). |
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| 作者姓名： | 郭勇健 |
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| 作者单位： | 厦门大学中文系,福建厦门,361005 |
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| 摘 要： | 绘画艺术的自我意识,是在摄影的刺激下形成的.绘画与摄影的区别表现在眼、手、心三个方面.摄影提示了绘画不是模仿,而是“有意味的形式”.绘画的“形”不等于“形象”(再现性形象),而毋宁说是“形式”(抽象性形式).绘画线条的意义从笔触中获得肯定,笔触和线条是画家身体活动的结果,因此绘画作品中有一个“看不见的身体”存在.构图是绘画处理中最根本的问题,其与空间互为表里,空间意识表现为画框意识与平面意识.绘画史呈“从形象到空间”的趋势而发展.
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| 关 键 词： | 绘画 摄影 美学 有意味的形式 人心营构之象 空间幻象 |
On Aesthetic Matters of the Art of Painting |
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| GUO Yong-jian.On Aesthetic Matters of the Art of Painting[J].Journal of Xiamen University(A Quarterly for Studies in Arts & Social Sciences),2011(5). |
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| Authors: | GUO Yong-jian |
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| Institution: | GUO Yong-jian(Department of Chinese Language and Literature,Xiamen University,Xiamen 361005,Fujian) |
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| Abstract: | The self-consciousness of the art of painting is made by the stimulation of photography.But there are three different ways between painting and photography: visual,handcrafted and mental In contrast with photography,painting is a variety of significant forms rather just an imitation.It includes brush strokes and lines decided by painters themselves.So,composition of a picture is crucial,which has close relations with space.Comparing with that,photography has no capacity of creation for spatial illusions. |
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| Keywords: | painting photography aesthetics significant forms images composed by the mind spatial illusions |
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