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所谓“图像”是创作主体的心灵在自然物的“象”与其大脑中勾画的形“像”之间臆造的联想。文艺复兴时期阿尔贝蒂的那个著名的比喻,标志着艺术家已经成功地将世界变成“图像”,同时此“图像”又再现了一个有别于真实的世界。这里的“再现”是创作主体在时间中将自然物的“象”与其大脑中勾画的形“像”相拟、相印证并把“像”投射在画板上的活动,可以说此“再现”并非再现自然而是再现心灵与自然物的和谐共振。图像的重要意义也由此而确立,它意味着作品的要素首要是“图像的”而非“技术的”或“形式的”。
The so-called “image” is the imaginary association between the soul of the creative subject in the “image” of natural objects and the “image” shaped in his brain. The famous analogy of Alberti in the Renaissance symbolizes that the artist has succeeded in turning the world into an “image,” while the “image” reproduces a world distinct from the real one. “Reproduction” here is an activity in which the subject of creation aligns the “elephant” of natural objects with the “shape” of his brain in time, confirms and projects “image” on the artboard. It can be said that this “reappearance” is not Reproduce the nature but to reproduce the harmonious resonance between the soul and the natural objects. The significance of the image is thus established, which means that the elements of the work are primarily “images” rather than “technical” or “formal.”