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杜桑1920年所作的木、皮装置,名为《新寡妇》,它是一扇标准的法式落地长窗,然而杜桑却有意将窗棂内本应安装玻璃的地方换上了几块黑皮子,令本该通透的物质实体丧失其原始职能,它一反常理,以变异的语汇引出一个谜面。 “通风透光”是窗户的物理职能,“透明的窗户”是文艺复兴时期透视技巧的一则比喻,“透过窗户向外看”是西方人观察自然,关照世界的方式之一。纵观历史,“窗户”作为西方艺术中常被引用的素材之一,艺术大师们以此在其作品中组合画面,推延空间;采集光照,抒写心像,相近题材不乏标新立异之作。本文正是以此为基点,探寻艺术家对“窗户”这一概念的表述及作品中对窗前不同物象的关注与捕捉,进
Dusan’s wooden and leather installation made in 1920, titled “The New Widow,” is a standard French-style long-standing window, but Duchamp, however, intended to replace a few dark-skinned places in the window- , So that the seemingly transparent material entity loses its original function. As a common sense, it leads to a mystery in a variant language. “Ventilation and light” is the physical function of the window. “Transparent windows” are an analogy of the Renaissance perspective skills. “Looking out the window” is one of Westerners’ ways to observe nature and take care of the world. Throughout history, as one of the most frequently quoted material in western art, the “masters of windows” combine the pictures in their works to delay the space. The collection of light and the expression of the heart and mind are similar to each other. Based on this, this article explores the artist’s expression of the concept of “window” and the concern and capture of different objects in the works