游戏概念插画中视觉亚文化现象研究
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摘要
近年来在电脑游戏的影响和推动下,许多新锐插画艺术家更加青睐游戏概念插画的创作,游戏概念插画是伴随着网络时代与数字时代的到来而产生的,在这个全新的艺术空间,包含了各种文化的艺术转化,创作者的内心情感体现等多种具有巨大包容性和创新性的艺术新状况,在游戏概念插画中,蕴含了多种文化元素,给人们带来了新的艺术观念和思想,其丰富的形式技巧刺激了数码插画的发展和社会运用,带来新的视觉体验和时尚风格。
在游戏概念插画给我们带来新的视觉体验的过程中,细心的受众可能会发觉到,游戏概念插画中出现了越来越多的嘻哈,颓废,朋克等等以亚文化为题材的内容,通过游戏概念插画师强大的创作能力,一批带着浓郁情感色彩的游戏概念插画引发了一股视觉亚文化的热潮。由于游戏概念插画是直接由电脑创作,不失真,传播便捷、直观、鲜明、生动,和互联网这种传播媒介具有天然的兼容性,可以在网络上迅速的传播,深受年轻人的喜爱,互联网更为创作者提供了展示交流的机会,使他们的作品通过网络来展示,从而解决了插画展示受传统媒介限制的问题,也把一些非主流的数码插画引人人们视野,最终鼓励插画艺术朝着多元化的方向发展。
在本文中作为研究对象的“视觉亚文化”是狭义的,仅仅指数字时代下,开始出现在时尚界,网络游戏界,CG插画界将亚文化为创作元素的视觉文化热潮,以及将亚文化作为创作题材在产业领域的衍生物。本文从游戏概念插画这个多元化的艺术空间来分析与研究,游戏概念插画中视觉亚文化存在的原因,发展现状等,对视觉亚文化的审美需求,以及视觉亚文化与视觉文化的关系,从而更加了解视觉文化结构,在今天,游戏概念插画中的视觉亚文化现象已经成为了一种热潮,在现实中取得了良好的成果,但是却很少有人从理论的角度深层的去研究游戏概念插画中视觉亚文化现象,而这方面的研究能够使我们对视觉文化的研究和学习有着很大的帮助。
In recent years with the computer game effects and promote, many new illustration artist favour game concept illustration creation more and more, the game concept illustration is accompanied by the network era and the arrival of the digital age and output, in this new art space, contains various cultural artistic transformation, creator of the inner feelings reflected has enormous inclusiveness and innovative new artistic status, in game concept illustration, contains a variety of cultural elements, has brought people new artistic concept and thought, its rich form skills to stimulate the development of digital illustration using, bring new social and visual experience and fashionable style.
In game concept illustration, it brings us new visual experience process, attentive audience and it may find that the game concept illustration is appeared more and more hip-hop, decadent, punk and so on to the subject of subculture content, through the game concept illustrator powerful creative ability, batch of taking full-bodied and emotional colors game concept illustration sparked a stream of visual subculture boom. The game concept illustration is not directly from a computer to create, distortion, convenient, direct, distinct spread, vivid, and the Internet this media has natural compatibility, can spread quickly on the Internet, of the LDTX, the Internet more creators provides to show a communication opportunity, make their works through the network to show, thus solved the illustration shows the problem by traditional media restrictions, and put some outside the mainstream of digital illustration striking people vision, eventually encourage illustration art toward diversified direction.
In this paper, the research object "visual subculture" is narrow, only index word began to appear in age, the fashion world, network game world, CG illustration bound for creative elements will subculture, and the visual culture boom as creative theme in industry subculture field of derivatives. This article from the game concept illustration the diversified art space to analysis and research, the game concept illustration of the reasons of the existence of visual subculture, development situation, the aesthetic demand of visual subculture, and visual subculture and visual culture relations, so as to better understand the visual culture structure, today, the game concept illustration of the visual subculture phenomenon has become a boom, in reality achieved good results, but few people from the Angle of the theory of deep study visual subculture game concept illustration, and the phenomenon of research can make our visual culture research and the study has a lot of help.
在游戏概念插画给我们带来新的视觉体验的过程中,细心的受众可能会发觉到,游戏概念插画中出现了越来越多的嘻哈,颓废,朋克等等以亚文化为题材的内容,通过游戏概念插画师强大的创作能力,一批带着浓郁情感色彩的游戏概念插画引发了一股视觉亚文化的热潮。由于游戏概念插画是直接由电脑创作,不失真,传播便捷、直观、鲜明、生动,和互联网这种传播媒介具有天然的兼容性,可以在网络上迅速的传播,深受年轻人的喜爱,互联网更为创作者提供了展示交流的机会,使他们的作品通过网络来展示,从而解决了插画展示受传统媒介限制的问题,也把一些非主流的数码插画引人人们视野,最终鼓励插画艺术朝着多元化的方向发展。
在本文中作为研究对象的“视觉亚文化”是狭义的,仅仅指数字时代下,开始出现在时尚界,网络游戏界,CG插画界将亚文化为创作元素的视觉文化热潮,以及将亚文化作为创作题材在产业领域的衍生物。本文从游戏概念插画这个多元化的艺术空间来分析与研究,游戏概念插画中视觉亚文化存在的原因,发展现状等,对视觉亚文化的审美需求,以及视觉亚文化与视觉文化的关系,从而更加了解视觉文化结构,在今天,游戏概念插画中的视觉亚文化现象已经成为了一种热潮,在现实中取得了良好的成果,但是却很少有人从理论的角度深层的去研究游戏概念插画中视觉亚文化现象,而这方面的研究能够使我们对视觉文化的研究和学习有着很大的帮助。
In recent years with the computer game effects and promote, many new illustration artist favour game concept illustration creation more and more, the game concept illustration is accompanied by the network era and the arrival of the digital age and output, in this new art space, contains various cultural artistic transformation, creator of the inner feelings reflected has enormous inclusiveness and innovative new artistic status, in game concept illustration, contains a variety of cultural elements, has brought people new artistic concept and thought, its rich form skills to stimulate the development of digital illustration using, bring new social and visual experience and fashionable style.
In game concept illustration, it brings us new visual experience process, attentive audience and it may find that the game concept illustration is appeared more and more hip-hop, decadent, punk and so on to the subject of subculture content, through the game concept illustrator powerful creative ability, batch of taking full-bodied and emotional colors game concept illustration sparked a stream of visual subculture boom. The game concept illustration is not directly from a computer to create, distortion, convenient, direct, distinct spread, vivid, and the Internet this media has natural compatibility, can spread quickly on the Internet, of the LDTX, the Internet more creators provides to show a communication opportunity, make their works through the network to show, thus solved the illustration shows the problem by traditional media restrictions, and put some outside the mainstream of digital illustration striking people vision, eventually encourage illustration art toward diversified direction.
In this paper, the research object "visual subculture" is narrow, only index word began to appear in age, the fashion world, network game world, CG illustration bound for creative elements will subculture, and the visual culture boom as creative theme in industry subculture field of derivatives. This article from the game concept illustration the diversified art space to analysis and research, the game concept illustration of the reasons of the existence of visual subculture, development situation, the aesthetic demand of visual subculture, and visual subculture and visual culture relations, so as to better understand the visual culture structure, today, the game concept illustration of the visual subculture phenomenon has become a boom, in reality achieved good results, but few people from the Angle of the theory of deep study visual subculture game concept illustration, and the phenomenon of research can make our visual culture research and the study has a lot of help.
引文
①《资本主义文化矛盾》丹尼尔·贝尔著,江苏人民出版社
①《资本主义文化矛盾》丹尼尔·贝尔著,江苏人民出版社
①王彬彬《大众文化对青少年一代的影响》,载《青少年导刊》2001(3)
①《菊之刀》本尼迪克著吕万河、熊达云、王智新译商务印书馆出版社1900年第8-9页
[1]傅守祥.审美化生存[M].中国传媒大学出版社
[2]苏中秋.商业绘画[M].陕西人民美术出版社
[3]王受之.美国插图史[M].中国青年出版社
[4]迪克·赫伯迪格.亚文化:风格的意义[M].北京大学出版社
[5]尼古拉斯·米尔佐夫.视觉文化导论[M].江苏人民出版社
[6]李鸿祥.视觉文化研究:当代视觉文化与中国传统审美文化[M].东方出版中心
[7]伊莱恩·鲍德温. lntroducing Cultural Studies文化研究导论[M]北京大学出版社
[8]罗杰.菲德勒.数字化生存[M].湖南科技出版社
[9]于文秀.当下文化景观研究[M].人民出版社
[10]罗筠筠.梦幻之城:当代城市审美文化的批评性考察[M].郑州大学出版社
[11]余虹.审美文化导论[M].高等教育出版社
[12]张晶、范周.当代审美文化新论[M].中国传媒大学出版社
[13]阿恩海姆.艺术与视知觉——美学·设计·艺术教育丛书[M].四川人民出版社
[14]泽阿根.数码插画的秘密[M].中国青年出版社
[15]彭澎.插画艺术文化[M].清华大学出版社
[16]张黔主.设计艺术美学[M].清华大学出版社.2007.
[17]张晶.论审美文化[M].北京广播学院出版社.2003.
[18]苏国勋,张旅平,夏光.全球化[M].社会科学文献出版社.2006.
[19]沃纳·霍夫曼(德).现代艺术的激变[M].广西师范大学出版社.2002.
[20]曾军.观看的文化分析[M].山东文艺出版社.2008.
[21]周宪.视觉文化的转向[M].北京大学出版社.2008.
[22]黄鸣奋.比特挑战缪斯[M].厦门大学出版社.2000.
[23]张捷鸿.大众文化的美学阐释[M].中国海洋大学出版社.2006.
[24]阿尔贝特·施韦泽(法).文化哲学[M].上海人民出版社.2008.
[25]中川作一(日).视觉艺术的社会心理[M].上海人民美术出版社.1991.
[26]迪克·赫伯迪格(美).亚文化[M].北京大学出版社.2009.
[27]陈永国.视觉文化研究读本[M].北京大学出版社.2009.
[28]傅守祥.审美化生存[M].中国传媒大学出版社.2008.
[29]肖恩·库比特(新).数字美学[M].2007.
[30]余虹.审美文化导论[M].高等教育出版社.2006.
[31]胡家祥.心灵结构与文化解析[M].北京大学出版社.1998.
[32]马尔库塞·赫伯特(美).审美之维[M].广西师范大学出版社.2001.
[33]吴国强.感悟美学[M].中国轻工业出版社.2007.
[34]理查德·舒斯特曼(美).生活即审美[M].北京大学出版社.2007.
[35]黎乔立.审美生理学导论[M].广东人民出版社.192000.5.
[36]傅佩荣.哲学与人生[M].东方出版社.2005.
[37]莫隆(法).美学与心理学[M].学林出版社.1992.
[38]黄华明,李鸿明.装饰图案[M].重庆大学出版社.2008.
[39]雷圭元.中国图案作法初探[M].上海人民美术出版社.1979.
[40]赵瑞波.商业插画在当代视觉文化中的地位和作用[J]
[41]舒怡.数码商业美术插画的发展及现状[J]
[42]许笑松.插画的视觉文化解析[J]
[43]伊塞.流行文化产业与商业插画研究[J]
[44]王静.反文化性在当代涂鸦艺术中的表现[J]
①《资本主义文化矛盾》丹尼尔·贝尔著,江苏人民出版社
①王彬彬《大众文化对青少年一代的影响》,载《青少年导刊》2001(3)
①《菊之刀》本尼迪克著吕万河、熊达云、王智新译商务印书馆出版社1900年第8-9页
[1]傅守祥.审美化生存[M].中国传媒大学出版社
[2]苏中秋.商业绘画[M].陕西人民美术出版社
[3]王受之.美国插图史[M].中国青年出版社
[4]迪克·赫伯迪格.亚文化:风格的意义[M].北京大学出版社
[5]尼古拉斯·米尔佐夫.视觉文化导论[M].江苏人民出版社
[6]李鸿祥.视觉文化研究:当代视觉文化与中国传统审美文化[M].东方出版中心
[7]伊莱恩·鲍德温. lntroducing Cultural Studies文化研究导论[M]北京大学出版社
[8]罗杰.菲德勒.数字化生存[M].湖南科技出版社
[9]于文秀.当下文化景观研究[M].人民出版社
[10]罗筠筠.梦幻之城:当代城市审美文化的批评性考察[M].郑州大学出版社
[11]余虹.审美文化导论[M].高等教育出版社
[12]张晶、范周.当代审美文化新论[M].中国传媒大学出版社
[13]阿恩海姆.艺术与视知觉——美学·设计·艺术教育丛书[M].四川人民出版社
[14]泽阿根.数码插画的秘密[M].中国青年出版社
[15]彭澎.插画艺术文化[M].清华大学出版社
[16]张黔主.设计艺术美学[M].清华大学出版社.2007.
[17]张晶.论审美文化[M].北京广播学院出版社.2003.
[18]苏国勋,张旅平,夏光.全球化[M].社会科学文献出版社.2006.
[19]沃纳·霍夫曼(德).现代艺术的激变[M].广西师范大学出版社.2002.
[20]曾军.观看的文化分析[M].山东文艺出版社.2008.
[21]周宪.视觉文化的转向[M].北京大学出版社.2008.
[22]黄鸣奋.比特挑战缪斯[M].厦门大学出版社.2000.
[23]张捷鸿.大众文化的美学阐释[M].中国海洋大学出版社.2006.
[24]阿尔贝特·施韦泽(法).文化哲学[M].上海人民出版社.2008.
[25]中川作一(日).视觉艺术的社会心理[M].上海人民美术出版社.1991.
[26]迪克·赫伯迪格(美).亚文化[M].北京大学出版社.2009.
[27]陈永国.视觉文化研究读本[M].北京大学出版社.2009.
[28]傅守祥.审美化生存[M].中国传媒大学出版社.2008.
[29]肖恩·库比特(新).数字美学[M].2007.
[30]余虹.审美文化导论[M].高等教育出版社.2006.
[31]胡家祥.心灵结构与文化解析[M].北京大学出版社.1998.
[32]马尔库塞·赫伯特(美).审美之维[M].广西师范大学出版社.2001.
[33]吴国强.感悟美学[M].中国轻工业出版社.2007.
[34]理查德·舒斯特曼(美).生活即审美[M].北京大学出版社.2007.
[35]黎乔立.审美生理学导论[M].广东人民出版社.192000.5.
[36]傅佩荣.哲学与人生[M].东方出版社.2005.
[37]莫隆(法).美学与心理学[M].学林出版社.1992.
[38]黄华明,李鸿明.装饰图案[M].重庆大学出版社.2008.
[39]雷圭元.中国图案作法初探[M].上海人民美术出版社.1979.
[40]赵瑞波.商业插画在当代视觉文化中的地位和作用[J]
[41]舒怡.数码商业美术插画的发展及现状[J]
[42]许笑松.插画的视觉文化解析[J]
[43]伊塞.流行文化产业与商业插画研究[J]
[44]王静.反文化性在当代涂鸦艺术中的表现[J]