光影语言在绘画中的情感表达与美感表现
|
摘要
光影是一种重要的绘画语言,画家不仅用来再现自然物象,在二维的平面上制造三维的立体效果,而且能够作为一种传达感情的信息符号和表现美感的艺术元素。
西方自从文艺复兴时期起,艺术家开始有目的地系统地研究光影语言。文艺复兴伟大先驱乔托笔下开始出现具有体积感的人体,此后从达·芬奇、卡拉瓦乔、拉图尔、伦勃朗、莫奈、雷诺阿到现代画家怀斯、帕尔斯坦以及中国当代画家的绘画作品中都能充分体现出光影语言的重要作用和发展轨迹。很多理论学者包括文艺复兴巨匠达·芬奇、现代艺术理论大师贡布里希、沃尔夫林、鲁道夫·阿恩海姆等也对光影语言进行了深入具体的考察和研究,取得了很多理论成果。
艺术家在绘画中运用光的起因是为了追求真实表现客观对象,后逐渐成为艺术家自觉使用和积极探索的表现性语言。与现代绘画注重构成和思想性的特点相适应,现代画面中的光影已经摆脱了传统的束缚,从绘画构成的诸多元素中突显出来,直接与观众的视觉审美构成一种意象性的交流与对话,成为现代绘画中的重要语言与个人风格符号。
本文从光影语言的情感表达和美感表现方面来阐述光影作为绘画语言的重要价值。论文分为三部分：第一部分根据画面的表现内容和视觉效果,将光影效果分为七个表现类型,分析了不同时期的艺术家及其作品中的光影表现。第二部分从情感表达的角度入手,研究画家是如何运用光影来营造与之相适应的氛围从而表达内心情感,使观者获得心灵共鸣。第三部分论述了光影语言作为一种有意味的形式,不仅在画面中起到描绘物体的作用,更重要的是表现美感,并且赋予观者更强烈的审美享受和心理震撼。
本文的创新点在于通过研究分析光影语言的发展轨迹和表现效果,论证光影语言从“自然手法”演变成“自觉的手段”,已然成为表达主观情感和表现画面美感的视觉符号和形式语言。光影语言在当代具象绘画的回归的时代背景下有着更为广阔的发展空间,我们应以新的眼光和思路探究并深化光影的表现力与艺术效果,进一步认识光影语言的审美价值。
The usage of light and shadow is an important language of fine art. Painters use it to not only reproduce the natural object-image; create an illusion of three-dimension in two-dimensional plane, but also as informational symbols of artists feelings and aesthetic elements.
In the Western world, since the Renaissance, the artists began a systematic study of the language of light and shade.The great pioneer of the Renaissance Giotto's works began to depict human body with a sense of volume. From this time forth, from works of the up Vinci, Caravaggio, La Tour, Rembrandt, Monet, Renoir to modern Bohr Stan Wise as well as paintings by Chinese contemporary artists, the importance of light and shadow is fully reflected and the develop could be easily traced. Many theorists, including the Renaissance masters Leonardo da Vinci, modern art theory and master Gambit, Rudolf·Anaheim, Wal-Mart Rivlin and so on, have also did in-depth study and research on the specific language of light and shadow, made a lot of theoretical achievements.
Lights was originally used by artists in order to depict objects realistically, however, it has gradually become an language that artists consciously and actively explore. Modern fine arts focus on composition and ideology, light and shadow have shaken off the shackles of tradition, standing out from the many other elements, and constituted a imaginable exchange and dialogue. It has become important imaginable and personal style symbols.
In this paper, in respect of the emotional and aesthetic expression of the language of light and shadow, the aesthetic value of light and shadow will be discussed as a painting language. This paper is divided into three parts:the first one will divide light and shadow effects into seven types according to images contents and visual effects, and analyses artists from different period and the expression of light and shadow in their works. The second part starts from the perspective of emotional expression to study the artists methods of using light and shadow, create a suited atmosphere to express their inner feelings that the viewers identify with. Part III discusses the lighting language as a significant form, not only depict objects in the picture to play the role, but more importantly is to show aesthetic, meanwhile, deliver great aesthetic joy and mental quiver to viewers.
The innovation of this paper is that, through my study and analysis on the development of light and shadow, I reasoned that the language of light and shadow had evolved into a "conscious method" from a "natural action". It has already become a visual symbol and formal language to express subjective emotion and aesthetic. Against the background of the return of contemporary representational painting, the language of light and shadow owns wider space to develop. We should take a fresh vision and trains of thought to explore and deepen its the strength and artistic effects, further our understanding on the aesthetic value of the language of light and shadow.
西方自从文艺复兴时期起,艺术家开始有目的地系统地研究光影语言。文艺复兴伟大先驱乔托笔下开始出现具有体积感的人体,此后从达·芬奇、卡拉瓦乔、拉图尔、伦勃朗、莫奈、雷诺阿到现代画家怀斯、帕尔斯坦以及中国当代画家的绘画作品中都能充分体现出光影语言的重要作用和发展轨迹。很多理论学者包括文艺复兴巨匠达·芬奇、现代艺术理论大师贡布里希、沃尔夫林、鲁道夫·阿恩海姆等也对光影语言进行了深入具体的考察和研究,取得了很多理论成果。
艺术家在绘画中运用光的起因是为了追求真实表现客观对象,后逐渐成为艺术家自觉使用和积极探索的表现性语言。与现代绘画注重构成和思想性的特点相适应,现代画面中的光影已经摆脱了传统的束缚,从绘画构成的诸多元素中突显出来,直接与观众的视觉审美构成一种意象性的交流与对话,成为现代绘画中的重要语言与个人风格符号。
本文从光影语言的情感表达和美感表现方面来阐述光影作为绘画语言的重要价值。论文分为三部分：第一部分根据画面的表现内容和视觉效果,将光影效果分为七个表现类型,分析了不同时期的艺术家及其作品中的光影表现。第二部分从情感表达的角度入手,研究画家是如何运用光影来营造与之相适应的氛围从而表达内心情感,使观者获得心灵共鸣。第三部分论述了光影语言作为一种有意味的形式,不仅在画面中起到描绘物体的作用,更重要的是表现美感,并且赋予观者更强烈的审美享受和心理震撼。
本文的创新点在于通过研究分析光影语言的发展轨迹和表现效果,论证光影语言从“自然手法”演变成“自觉的手段”,已然成为表达主观情感和表现画面美感的视觉符号和形式语言。光影语言在当代具象绘画的回归的时代背景下有着更为广阔的发展空间,我们应以新的眼光和思路探究并深化光影的表现力与艺术效果,进一步认识光影语言的审美价值。
The usage of light and shadow is an important language of fine art. Painters use it to not only reproduce the natural object-image; create an illusion of three-dimension in two-dimensional plane, but also as informational symbols of artists feelings and aesthetic elements.
In the Western world, since the Renaissance, the artists began a systematic study of the language of light and shade.The great pioneer of the Renaissance Giotto's works began to depict human body with a sense of volume. From this time forth, from works of the up Vinci, Caravaggio, La Tour, Rembrandt, Monet, Renoir to modern Bohr Stan Wise as well as paintings by Chinese contemporary artists, the importance of light and shadow is fully reflected and the develop could be easily traced. Many theorists, including the Renaissance masters Leonardo da Vinci, modern art theory and master Gambit, Rudolf·Anaheim, Wal-Mart Rivlin and so on, have also did in-depth study and research on the specific language of light and shadow, made a lot of theoretical achievements.
Lights was originally used by artists in order to depict objects realistically, however, it has gradually become an language that artists consciously and actively explore. Modern fine arts focus on composition and ideology, light and shadow have shaken off the shackles of tradition, standing out from the many other elements, and constituted a imaginable exchange and dialogue. It has become important imaginable and personal style symbols.
In this paper, in respect of the emotional and aesthetic expression of the language of light and shadow, the aesthetic value of light and shadow will be discussed as a painting language. This paper is divided into three parts:the first one will divide light and shadow effects into seven types according to images contents and visual effects, and analyses artists from different period and the expression of light and shadow in their works. The second part starts from the perspective of emotional expression to study the artists methods of using light and shadow, create a suited atmosphere to express their inner feelings that the viewers identify with. Part III discusses the lighting language as a significant form, not only depict objects in the picture to play the role, but more importantly is to show aesthetic, meanwhile, deliver great aesthetic joy and mental quiver to viewers.
The innovation of this paper is that, through my study and analysis on the development of light and shadow, I reasoned that the language of light and shadow had evolved into a "conscious method" from a "natural action". It has already become a visual symbol and formal language to express subjective emotion and aesthetic. Against the background of the return of contemporary representational painting, the language of light and shadow owns wider space to develop. We should take a fresh vision and trains of thought to explore and deepen its the strength and artistic effects, further our understanding on the aesthetic value of the language of light and shadow.
引文
[1]鲁道夫·阿恩海姆.艺术与视知觉(新编)[M].孟沛欣译,长沙：湖南美术出版社,2008：244.
[2]史莱因.艺术与物理学[M].吴伯,暴永宁译,长春：吉林人民出版社,2000：38.
[3]张坚.大师·美术巴洛克时代[M].广州：暨南大学出版社,2002：50.
[4]张坚.大师·美术巴洛克时代[M].广州：暨南大学出版社,2002：52.
[5]张坚.大师·美术巴洛克时代[M].广州：暨南大学出版社,2002：66.
[6]张坚.大师·美术巴洛克时代[M].广州：暨南大学出版社,2002：76.
[7]范梦.世界美术通史[M].北京：中国青年出版社,2001：508.
[8]范梦.世界美术通史[M].北京：中国青年出版社,2001：506.
[9]中央美院外国美术史教研室.外国美术史简记[M].北京：高等教育出版社,2003：311.
[10]何政广.蒙克北欧表现派先驱[M].北京：河北教育出版社,1998：202.
[11]鲁迅.凯绥·珂勒惠支版画选集[M].序目
[12]范梦.世界美术通史[M].北京：中国青年出版社,2001：323.
[13]周培德.光：视觉语言[M].上海：上海书店出版社,2009：132.
[14]鲁道夫·阿恩海姆.艺术与视知觉(新编)[M].孟沛欣译,长沙：湖南美术出版,2008：344.
[15]周培德.光：视觉语言[M].上海：上海书店出版社,2009：132.
[16]周培德.光：视觉语言[M].上海：上海书店出版社,2009：112.
[17]周培德.光：视觉语言[M].上海：上海书店出版社,2009：73.
[18]董玲.油画中的光影表现研究[D].首都师范大学硕士学位论文,2007.11
[19]范梦.世界美术通史[M].北京：中国青年出版社,2001：455.
[20]鲁道夫·阿恩海姆.艺术与视知觉(新编)[M].孟沛欣译,长沙：湖南美术出版社,2008：264.
[21]范梦.世界美术通史[M].北京：中国青年出版社,2001：61.
[22]周培德.光：视觉语言[M].上海：上海书店出版社,2009：111.
[1]鲁道夫·阿恩海姆.艺术与视知觉(新编)[M].孟沛欣译,长沙：湖南美术出版社,2008
[2]阿纳森.西方现代艺术史[M].邹德侬等译,天津：天津人民美术出版社,1994
[3]贡布里希.艺术发展史[M].范景中译,天津：天津美术出版社,1988
[4]曼·科·希勒布雷希特.现代派艺术心理[M].陈钰鹏译,上海：上海文艺出版社,1989
[5]达·芬奇.达芬奇论绘画[M].戴勉译,南宁：广西师范大学出版,2003
[6]阿恩海姆.艺术的心理世界[M].周宪译,北京：中国人民大学出版社,2003
[7]哈德罗·奥斯本.20世纪艺术中的抽象和技巧[M].阎嘉,黄欢译,成都：四川美术出版社,1988
[8]范梦著.世界美术通史[M].北京：中国青年出版社,2001
[9]胡志颖.西方当代艺术状态[M].北京：人民美术出版社,2003
[10]周宪.视觉文化的转向[M].北京：北京大学出版社,2007
[11]赵勤国.绘画形式语言[M].济南：黄河出版社,2003
[12]张坚著.大师·美术·巴洛克时代[M].广州：暨南大学出版社,2002
[13]汪晓曙.绘画语言[M].南昌：江西美术出版社,1999
[14]何政广.绘画光影魔术师[M].石家庄：河北教育出版社,1999
[15]徐东,胡春奎.光影创意[M].北京：中央编译出版社,2004
[17]朱存明.汉画像的象征世界[M].北京：人民文学出版社,2005
[18]周培德.光：视觉语言[M].上海：上海书店出版社,2009
[19]林路.光影-新概念摄影[M].上海：上海人民美术出版社,2006
[20]何政广.蒙克北欧表现派先驱[M].石家庄：河北教育出版社,1998
[2]史莱因.艺术与物理学[M].吴伯,暴永宁译,长春：吉林人民出版社,2000：38.
[3]张坚.大师·美术巴洛克时代[M].广州：暨南大学出版社,2002：50.
[4]张坚.大师·美术巴洛克时代[M].广州：暨南大学出版社,2002：52.
[5]张坚.大师·美术巴洛克时代[M].广州：暨南大学出版社,2002：66.
[6]张坚.大师·美术巴洛克时代[M].广州：暨南大学出版社,2002：76.
[7]范梦.世界美术通史[M].北京：中国青年出版社,2001：508.
[8]范梦.世界美术通史[M].北京：中国青年出版社,2001：506.
[9]中央美院外国美术史教研室.外国美术史简记[M].北京：高等教育出版社,2003：311.
[10]何政广.蒙克北欧表现派先驱[M].北京：河北教育出版社,1998：202.
[11]鲁迅.凯绥·珂勒惠支版画选集[M].序目
[12]范梦.世界美术通史[M].北京：中国青年出版社,2001：323.
[13]周培德.光：视觉语言[M].上海：上海书店出版社,2009：132.
[14]鲁道夫·阿恩海姆.艺术与视知觉(新编)[M].孟沛欣译,长沙：湖南美术出版,2008：344.
[15]周培德.光：视觉语言[M].上海：上海书店出版社,2009：132.
[16]周培德.光：视觉语言[M].上海：上海书店出版社,2009：112.
[17]周培德.光：视觉语言[M].上海：上海书店出版社,2009：73.
[18]董玲.油画中的光影表现研究[D].首都师范大学硕士学位论文,2007.11
[19]范梦.世界美术通史[M].北京：中国青年出版社,2001：455.
[20]鲁道夫·阿恩海姆.艺术与视知觉(新编)[M].孟沛欣译,长沙：湖南美术出版社,2008：264.
[21]范梦.世界美术通史[M].北京：中国青年出版社,2001：61.
[22]周培德.光：视觉语言[M].上海：上海书店出版社,2009：111.
[1]鲁道夫·阿恩海姆.艺术与视知觉(新编)[M].孟沛欣译,长沙：湖南美术出版社,2008
[2]阿纳森.西方现代艺术史[M].邹德侬等译,天津：天津人民美术出版社,1994
[3]贡布里希.艺术发展史[M].范景中译,天津：天津美术出版社,1988
[4]曼·科·希勒布雷希特.现代派艺术心理[M].陈钰鹏译,上海：上海文艺出版社,1989
[5]达·芬奇.达芬奇论绘画[M].戴勉译,南宁：广西师范大学出版,2003
[6]阿恩海姆.艺术的心理世界[M].周宪译,北京：中国人民大学出版社,2003
[7]哈德罗·奥斯本.20世纪艺术中的抽象和技巧[M].阎嘉,黄欢译,成都：四川美术出版社,1988
[8]范梦著.世界美术通史[M].北京：中国青年出版社,2001
[9]胡志颖.西方当代艺术状态[M].北京：人民美术出版社,2003
[10]周宪.视觉文化的转向[M].北京：北京大学出版社,2007
[11]赵勤国.绘画形式语言[M].济南：黄河出版社,2003
[12]张坚著.大师·美术·巴洛克时代[M].广州：暨南大学出版社,2002
[13]汪晓曙.绘画语言[M].南昌：江西美术出版社,1999
[14]何政广.绘画光影魔术师[M].石家庄：河北教育出版社,1999
[15]徐东,胡春奎.光影创意[M].北京：中央编译出版社,2004
[17]朱存明.汉画像的象征世界[M].北京：人民文学出版社,2005
[18]周培德.光：视觉语言[M].上海：上海书店出版社,2009
[19]林路.光影-新概念摄影[M].上海：上海人民美术出版社,2006
[20]何政广.蒙克北欧表现派先驱[M].石家庄：河北教育出版社,1998