User:Chen Junyu/Graduation Project Seminar/outline notes

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1.绘画 与 “drawing/painting” 在词义上解释的区别

2.我们应该如何欣赏一张画?drawing seems to have physical presence only as a static object. but its structure in fact is produced by actions carried out in time.Therefore in appreciating drawings, not less than in making them, one has to be continuously aware of the character and qualities of the sequences which went into their composition.To get at these one has to loo into the drawing carefully to find the order in which its parts were executed. To some extent one may grasp them intuitively; but analysis can be a great help. 作为普通的观众想要欣赏一张画,除了那些我们熟知的风格和类型,如何去理解更加深层次的来自于action 和堆叠的时间赋予画面的美丽?

3.现在为什么要绘画? 人物肖像画如今正在经历了一个大规模的复兴。为什么会这样呢?近十年来,绘画整体上处于低潮,它被人们认为是行将就木,甚至已经死亡了的。长久以来,现代主义试图寻找完美的自我观照绘画,其终极形式就是画布上的抽象表达。在Douglas Crimp1981年煽动性的文章《绘画的终结》里,他宣称绘画将为自身殉教而死。当绘画终于实现其虚无目的后,它也将自身逼入到死穴无处遁逃。其他具有影响力的理论家还有Yve-Alain Bois ,他在1986年写成的《绘画:悲痛的任务》一文中证实了Crimp的结论,艺术家们也在为绘画的终结盖棺定钉,他们以不再创作绘画为代价,公开拥抱录象和摄影等新媒体艺术,或是转向装置制作。但也有人持相反意见,2002年,巴黎的蓬皮杜中心举办了人物肖像绘画展《亲爱的画家Cher Peintre和Lieber Maler》,策展人之一的Sabine Folie,在研讨会上发表评论呼吁艺术家要回归绘画。事实上,绘画只是被时代束缚了,评论界终将重新回归到本源。“面对铺天盖地的录象电脑艺术或是摄影照片,人们在短期内也许会抗拒绘画”,Folie说,“但最终绘画将通过这些媒介丰富其再现和转化的手法,而不是消亡。”

4.时间作为绘画过程重要的一维,能如何更好地展现在观者的面前。 绘画有着时间堆砌的性质,而动画物理性地展现了这种时间的堆砌在现实中的呈现。然而它们在概念上是有区别的。动画的时间堆砌是在视觉残留现象的基础上,使用一张有一张不同的绘画形成一种绘画运动起来的视觉效果。而且通常都是以video(Video is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual and audio media.)(除外还有例如走马灯的动画类型)的形式呈现的。然而绘画最终以一个静止的object呈现,它的过程结合在作者一笔一笔(以结果来说)不可见的过程中进行。观众永远只能接触到完成的结果。即使是以表达动作和时间的action painting,也只是将action这个概念放大了并且作为共同的主题来呈现。

从project的角度,我的兴趣点则有一些偏离:我对那些不可预测的来自环境的因素对最后呈现的绘画(object)造成的影响有兴趣。绑砖头在手上写字似乎是最恰当的例子。 这似乎是另外一个论题。so called unpredictable factors,主题方面我对landscape painting 有兴趣 德国的浪漫主义画派特别是弗里德里希的画。中国的是南宋的画家马远。

notes:   But why should this be the case?Why do we paint ourselves?What is about humankind that inspires the desire to reproduce the physiognomy of fellow humans? in classical mythology,the first ever painting was a portrait ,a profile of the Maid of Corinth's lover drawn by her around his shadow on the wall of a cave before his departure overseas.but figure painting also extends beyond this desire for a likeness,a memento ,a replica of life.Among the first marks made by humans-on the cave walls of Chauvet and Lasaux in France thirty thousand years ago-were handprints ,a desire to leave a trace of the self for posterity ,a marker saying 'i was here'.But they had a dual purpose,as did the charcoal and ochre paintings of mammoth and bison and man himself.At first ,the aim of these paintings seems,to be simply record life,the word according to the scale and viewpoint of humans.But there is a growing belief that the paintings symbolize more than they depict,that even these early works of art were invested with a power beyond the descriptive .Often Located in the far recesses of cave structures where no natural light could pass,these painting would have been transformed in the firelight from representation of the specific-the single bison,the prone figure-into universal symbols of man and beast,signifiers of something beyond the present,of a belief system.       我为什么这么说呢?嚎~为什么我们画自己?是什么东西激发了人类重新创造面孔的灵感?   在古典神话中,人类所创造的第一幅画是画在某洞窟墙上的男人侧脸肖像,其创作者则是一名在科林斯家服侍的女仆,她绘画的动机其实是为了记录她即将远赴他乡的爱人的模样,其绘画方法便是沿着人像剪影的边缘线描绘而成。         但是人物肖像画渐渐发展到不仅仅只是为了纪念或者复制某人的外在表象。在人类历史的记载中,我们所留下的第一批印记是于三千年前在法国南部的沙维洞窟和拉斯科洞窟里的一些手印,这些手印是为了给后代留下一个“我曾经在这里”的痕迹。   但同时这些绘画(痕迹)也有着双重目的,就如他们用木炭和赭石所描绘的长毛象、野牛还有他们自己。一开始他们的目的似乎只是为了按照他们的理解简单记录生活中的事物。 但是随着时间的推移,后人认为画的意义远比他们描绘的本身意义要象征的更多,甚至超越了这些绘画原本的描述和功能。我们知道通常太阳光无法照射进洞窟里面,所以这些画必然是在火光中被创作出来的,他们将某一头野牛的形像转换成今天我们人类都能够理解的一个标志(图像),这个记号(图像)本身已经超越了时空。