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在艺术史中,艺术表现和客观现实之间的关系,从来不是一个平行的线性发展状态。不同历史阶段的意识形态和美学观念,对两者之间关系的规定性作用是不同的,所引起的变化是纷繁复杂的。一百多年前,摄影术的发明使艺术表现与客观现实的关系达到了近乎绝对意义上的重合。绘画的再现功能几乎受到毁灭性的冲击,表现空间只剩下色彩。以莫奈为代表的印象派索性模糊了摄影轻易就能达到的清晰轮廓,开始刻意追求客观物象的光影效果,即主观的“现实”。这样来看,印象派的出现既有客观上的被动原因,也有主观上的
In the history of art, the relationship between artistic expression and objective reality has never been a parallel linear development. The ideological and aesthetic concepts of different historical stages have different regulatory roles in the relationship between the two, and the changes that are caused are numerous and complex. More than 100 years ago, the invention of photography brought the relationship between artistic expression and objective reality to an almost absolute coincidence. The reproduction of painting almost devastating impact, performance space only color. Impressionism represented by Monet simply obscured the clear outline that photography can easily reach and started to deliberately pursue the light and shadow effect of objective objects, namely the subjective “reality ”. From this point of view, the emergence of Impressionists both objective passive reasons, but also subjective