信息时代的图像文化与中国当代架上绘画
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摘要
随着现代科技和信息业的迅速发展,我们生活的时代已经进入了一个视觉的时代,同时也进入了一个图像泛滥的时代,图像的表现形式和表达方式变得愈加多样化了。早在1839年达盖尔发明了照相术,自其诞生之日起,关于“艺术臣服于科学,艺术与科学是对手吗?”的讨论就没有停歇过。19世纪中叶的画家开始利用照片绘画,但其目的是“参照照片”而并非“画照片”,此时的图像是从属于绘画的,绘画与摄影处在一种主从的关系中。19世纪末开始,画家们感到了前所未前的心理挤压,摄影将逐步取代传统绘画,使得他们不得不向摄影所不能取代的极端主义化、个性化的现代主义艺术领域扩展。是极力地避让摄影,还是主动地“借用”摄影,这是20世纪以来的现代主义和后现代艺术对待摄影截然不同的两种文化态度,绘画的面貌也由此引发了两种不同的新走向。
一种走向是自后印象派兴起的现代主义诸流派,立体主义、表现主义、野兽派及抽象绘画的画家们与照片划清界限,其主旨企图以追求艺术语言与形式的原创性为契机,强调向现代科学那样专业化的“发明”,摆脱自古希腊以来以“模仿说”为根基的美学原则和照相术逼真的再现,不断追求绘画自身的种种可能性及纯粹性。另一种走向则是纷杂的后现代主义。20世纪60年代,西方发达国家跨入了“后工业社会”,后现代艺术应运而生,它采取的是一种开放的大众化姿态,公开借用、复制甚至抄袭现代主义和现代主义之前的各种艺术图式和风格手法,对摄影的借用当然也包括其中。艺术家颠覆传统,放手利用图像,刻意消解绘画与摄影的区分。
当代图像的存在与传统艺术的关系在中国当代艺术中的体现,也是显而易见的。80年代的中国现代绘画处在一个特殊的历史层面,接纳西方现代艺术和近百年来的各种艺术思潮、传统艺术和现代主义的各种观念并不可避免地混为一起。90年代以来,似乎明显开始对绘画所面临的挑战有所认识。时代的进步,使得我们更有机会接触更广泛的图像,图像可以被视为绘画,绘画也可以被视为图像。时代造就了一批艺术家,丰富的人生阅历,使他们以特殊的绘画形式和语言,结合特定的时代,完成了新的带有一定文化批判意义的作品。而中国当代艺术中80后的新秀艺术家以借用图像进行创作的现状,不论从选材、形式和对图像的利用选择上都与前辈背负的社会责任感有所变化,他们更注重强调个人感受和个体的经验差异,从自身的生存状态的角度表达属于他们这一代的价值。多媒体与信息传播所带来的成果,使他们更有机会把内心需要的图像融合于画面之中并形成特有的图像标志、个体符号。
本文正文共分三个部分：第一部分分别论述了图像与绘画的概念、19世纪摄影术对绘画的改变与冲击、当今图像文化的发展对艺术家视觉经验的改变；第二部分阐析了图像文化对中国当代架上绘画的影响,重点通过里希特的绘画艺术的论述,阐析图像文化对中国当代绘画的颠覆及影响。进一步叙述了图像文化对中国“政治波普”和中国80后绘画的影响。第三部分分析探讨了中国艺术家对图像的利用,指出图像文化对架上绘画发展的局限性及前景。,后两部分为本文的重点、要点。
本论文旨在从历史现象学的角度,深刻揭示西方艺术两条主线的走向,阐述其在不同历史时期的碰撞与融合。并以里希特等图像艺术家对中国艺术的影响作为个案研究,着重对中国“八五新潮”以来的绘画作以解析,探讨图像文化对中国90年代政治波普的影响以及对80后的一些新秀艺术家以借用图像进行创作的现状,进行较为清晰的梳理和理论的阐释。
With the development of modern technology and information industry, our life is into a visualized time, meanwhile into an image abusing time, in which the form and mode are more and more diverse. Since 1839 when Louis Jacques Mand Daguerre invented daguerreotype, the discussion between "arts should submit to science", and "can arts be a competitor to science" has been never stopped. In 1850s, painters used photos to help them in painting, with the purpose of "reference to photos" rather than "paint the photos". At that time, photos subjected to painting. They were in a principal and subordinate relation. Since the end of 18th century, the painters felt the unprecedented pressure that photography would gradually replace the traditional painting. For that case, the painters began to develop into extremism and individualism in which the photography can hardly substitute it. Since 19th century, due to two disparate attitudes toward culture, one was to strive to elude photography which was supported by modernists, and another one was to positively "borrow" the photography which was sustained by the post-modernists, the road of painting forked into two directions.
One direction rose from post-impressionism is called the modernism, including Cubism, Expressionism, Fauvism, and Abstractionism. They sharply demarcated from photography and intended to pursue innovation in the language and form of arts, focusing on learning the professional invention ability from modern science, in order to throw off the aesthetic principles based on "theory of imitation" since ancient Greece, and get rid of the realistically representation as the photography does. They devoted into pursuing of the possibility of arts and its purity. Another direction is going into the complicated and complex post-modernism. In 1960s, post-modernism emerged in response to the proper time and conditions that developed western countries went into "post-industrial society". Post-modernism adopted an open manner to the mass, and publically borrow or even copy the pattern, style and techniques of modernism and pre-modernism, and of course including the photography. At that time artists overthrew the traditions, and gave full license to use photos, for the purpose of deliberately dispel the distinction of painting and photography.
The contemporary existence of image and the traditional relations of art are obvious in manifestation in the contemporary Chinese art. In the 1980s, modern painting in China is standing a special historical layer to admit the West modern art and various artistic ideological trends, traditional art, early modernism and contemporary art, whose ideas and styles are inevitably mixed together. Since the 1990s, it seems to begin to clearly recognize the challenge which the drawing faces. The time progress enables us to have the opportunity to contact a more widespread image. The image can be regarded as the drawing, and the drawing regarded as the image. The time creates a group of artists, and enriches the experience all their life, which, by the special drawing form and language, makes them combine the particular time to accomplish new works with certain cultural criticism significance.
However, some new post-80 artists in contemporary art, who borrow the image to carry out the creation, have many changes in the social responsibilities with the previous generation, from the view of the creation selection, the creation form and the choice of use of the image. What they pay more attention to is to emphasize the difference of individual feeling and individual experience, and is to express the value which belongs to their generation from the view of their survival condition. The achievement resulted from Multimedia and information spread enables them to have more opportunity to combine the self-image and the images needed in their heart into the drawing, and form their special image and individual symbols. This paper is mainly divided into three parts:the first part respectively discusses the concepts of image and drawing, the change and impact of photography to drawing in 19 century, and the change of development of the present image culture to the visual experience of artists; the second part states and analyzes the influence of image culture to Chinese contemporary on-frame drawing, focuses on analyzing the overthrow and influence of image culture to Chinese contemporary drawing, and further states the influence of image culture to China politics and post-80's drawing in China; the third part analyzes and discusses the use of Chinese artists to images, and points the limitation and foreground of image culture to the development of on-frame drawing. The two latter parts are the important and focused point.
This paper, from the view of historical phenomenology, aims to promulgate the trends of two main lines of the Western art, and states the collision and fusion in the different historical periods. And this paper takes the influence of Richter's image artists to the Chinese art as the case study, stresses to analyze the painting since the "85 new tide" of China, to discuss the influence of the image culture to the 90s politics in China, meanwhile this paper makes a clear analyze and theoretical statement according to the fact that some post-80 new artists borrow the image to carry out creation.
一种走向是自后印象派兴起的现代主义诸流派,立体主义、表现主义、野兽派及抽象绘画的画家们与照片划清界限,其主旨企图以追求艺术语言与形式的原创性为契机,强调向现代科学那样专业化的“发明”,摆脱自古希腊以来以“模仿说”为根基的美学原则和照相术逼真的再现,不断追求绘画自身的种种可能性及纯粹性。另一种走向则是纷杂的后现代主义。20世纪60年代,西方发达国家跨入了“后工业社会”,后现代艺术应运而生,它采取的是一种开放的大众化姿态,公开借用、复制甚至抄袭现代主义和现代主义之前的各种艺术图式和风格手法,对摄影的借用当然也包括其中。艺术家颠覆传统,放手利用图像,刻意消解绘画与摄影的区分。
当代图像的存在与传统艺术的关系在中国当代艺术中的体现,也是显而易见的。80年代的中国现代绘画处在一个特殊的历史层面,接纳西方现代艺术和近百年来的各种艺术思潮、传统艺术和现代主义的各种观念并不可避免地混为一起。90年代以来,似乎明显开始对绘画所面临的挑战有所认识。时代的进步,使得我们更有机会接触更广泛的图像,图像可以被视为绘画,绘画也可以被视为图像。时代造就了一批艺术家,丰富的人生阅历,使他们以特殊的绘画形式和语言,结合特定的时代,完成了新的带有一定文化批判意义的作品。而中国当代艺术中80后的新秀艺术家以借用图像进行创作的现状,不论从选材、形式和对图像的利用选择上都与前辈背负的社会责任感有所变化,他们更注重强调个人感受和个体的经验差异,从自身的生存状态的角度表达属于他们这一代的价值。多媒体与信息传播所带来的成果,使他们更有机会把内心需要的图像融合于画面之中并形成特有的图像标志、个体符号。
本文正文共分三个部分：第一部分分别论述了图像与绘画的概念、19世纪摄影术对绘画的改变与冲击、当今图像文化的发展对艺术家视觉经验的改变；第二部分阐析了图像文化对中国当代架上绘画的影响,重点通过里希特的绘画艺术的论述,阐析图像文化对中国当代绘画的颠覆及影响。进一步叙述了图像文化对中国“政治波普”和中国80后绘画的影响。第三部分分析探讨了中国艺术家对图像的利用,指出图像文化对架上绘画发展的局限性及前景。,后两部分为本文的重点、要点。
本论文旨在从历史现象学的角度,深刻揭示西方艺术两条主线的走向,阐述其在不同历史时期的碰撞与融合。并以里希特等图像艺术家对中国艺术的影响作为个案研究,着重对中国“八五新潮”以来的绘画作以解析,探讨图像文化对中国90年代政治波普的影响以及对80后的一些新秀艺术家以借用图像进行创作的现状,进行较为清晰的梳理和理论的阐释。
With the development of modern technology and information industry, our life is into a visualized time, meanwhile into an image abusing time, in which the form and mode are more and more diverse. Since 1839 when Louis Jacques Mand Daguerre invented daguerreotype, the discussion between "arts should submit to science", and "can arts be a competitor to science" has been never stopped. In 1850s, painters used photos to help them in painting, with the purpose of "reference to photos" rather than "paint the photos". At that time, photos subjected to painting. They were in a principal and subordinate relation. Since the end of 18th century, the painters felt the unprecedented pressure that photography would gradually replace the traditional painting. For that case, the painters began to develop into extremism and individualism in which the photography can hardly substitute it. Since 19th century, due to two disparate attitudes toward culture, one was to strive to elude photography which was supported by modernists, and another one was to positively "borrow" the photography which was sustained by the post-modernists, the road of painting forked into two directions.
One direction rose from post-impressionism is called the modernism, including Cubism, Expressionism, Fauvism, and Abstractionism. They sharply demarcated from photography and intended to pursue innovation in the language and form of arts, focusing on learning the professional invention ability from modern science, in order to throw off the aesthetic principles based on "theory of imitation" since ancient Greece, and get rid of the realistically representation as the photography does. They devoted into pursuing of the possibility of arts and its purity. Another direction is going into the complicated and complex post-modernism. In 1960s, post-modernism emerged in response to the proper time and conditions that developed western countries went into "post-industrial society". Post-modernism adopted an open manner to the mass, and publically borrow or even copy the pattern, style and techniques of modernism and pre-modernism, and of course including the photography. At that time artists overthrew the traditions, and gave full license to use photos, for the purpose of deliberately dispel the distinction of painting and photography.
The contemporary existence of image and the traditional relations of art are obvious in manifestation in the contemporary Chinese art. In the 1980s, modern painting in China is standing a special historical layer to admit the West modern art and various artistic ideological trends, traditional art, early modernism and contemporary art, whose ideas and styles are inevitably mixed together. Since the 1990s, it seems to begin to clearly recognize the challenge which the drawing faces. The time progress enables us to have the opportunity to contact a more widespread image. The image can be regarded as the drawing, and the drawing regarded as the image. The time creates a group of artists, and enriches the experience all their life, which, by the special drawing form and language, makes them combine the particular time to accomplish new works with certain cultural criticism significance.
However, some new post-80 artists in contemporary art, who borrow the image to carry out the creation, have many changes in the social responsibilities with the previous generation, from the view of the creation selection, the creation form and the choice of use of the image. What they pay more attention to is to emphasize the difference of individual feeling and individual experience, and is to express the value which belongs to their generation from the view of their survival condition. The achievement resulted from Multimedia and information spread enables them to have more opportunity to combine the self-image and the images needed in their heart into the drawing, and form their special image and individual symbols. This paper is mainly divided into three parts:the first part respectively discusses the concepts of image and drawing, the change and impact of photography to drawing in 19 century, and the change of development of the present image culture to the visual experience of artists; the second part states and analyzes the influence of image culture to Chinese contemporary on-frame drawing, focuses on analyzing the overthrow and influence of image culture to Chinese contemporary drawing, and further states the influence of image culture to China politics and post-80's drawing in China; the third part analyzes and discusses the use of Chinese artists to images, and points the limitation and foreground of image culture to the development of on-frame drawing. The two latter parts are the important and focused point.
This paper, from the view of historical phenomenology, aims to promulgate the trends of two main lines of the Western art, and states the collision and fusion in the different historical periods. And this paper takes the influence of Richter's image artists to the Chinese art as the case study, stresses to analyze the painting since the "85 new tide" of China, to discuss the influence of the image culture to the 90s politics in China, meanwhile this paper makes a clear analyze and theoretical statement according to the fact that some post-80 new artists borrow the image to carry out creation.
引文
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②肖建华.图像文化的哲学基础[J]. 《国外社会科学》,2009,(1).77
③肖建华.图像文化的哲学基础[J]. 《国外社会科学》,2009,(1).77
④肖建华.图像文化的哲学基础[J]. 《国外社会科学》,2009,(1).77
⑤肖建华.图像文化的哲学基础[J]. 《国外社会科学》,2009,(1).77
①拉尔夫.迈耶[美]著.邵宏、罗永进、攀林等译.美术术语与技法词典[M].南京：江苏教育出版社,2005.128.
①顾永之.艺术原理[M].南京：东南大学出版社,2005.171.
②鲍列夫著.乔修业、常谢枫译.美学[M].北京：中国文联出版公司,1986.444.
③瓦尔特·本雅明.机器复制时代的艺术作品[M].南京：江苏人民出版社,2006.49.
④易英.公共图像与现代艺术世纪在线中国艺术网[EB/OL].
①刘伟东.艺术学新视域[M].南京：东南大学出版社,2008.273.
②张超.影视传媒对服饰文化的导向作用[J].《艺术评论》2007.10.P79
③顾永之.艺术原理[M].南京：东南大学出版社,2005.159.
①刘海飒编译.跨越-图像媒介与绘画创作《美苑》[J].2009.(5).P83
②约翰.伯杰.[英]著.戴行铖译.视觉艺术鉴赏[M].北京：商务印书馆,1999.
龙瑞.美术学研究文萃[M].石家庄：河北教育出版社,2004.85.
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