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象之动在电影与绘画的张力之中重新反思水墨这一独特的绘画类型,正是因为水墨至少有一个本质特征与电影血脉相通,即它们最终都意在实现“象之动”。从广义上说,抽象与具体相对,它指向普遍性的概念与思想形态。流俗之见往往将西方绘画与中国画的区分界定为写实/写意,但其实在感性(具象/形象)与理性(抽象/观念)之间建立平衡和谐的秩序是西方绘画的终极精神所在。从柏拉图在《大希庇阿斯篇》中对美的辩证开始,到阿尔伯蒂在《论绘画》中的细密分析,“美”的理想在西方传统之中始终
The Movement of Images Re-examines the unique type of painting in the tension between film and painting precisely because at least one essential characteristic of the ink is connected with the blood of the film, that is, they are ultimately intended to realize the “moving of the image.” Broadly speaking, abstraction is specific as opposed to specific, it points to the concept of universality and thought-form. Popular custom often defines the distinction between western painting and traditional Chinese painting as realistic / freehand brushwork, but in fact the establishment of a balanced and harmonious order between sensibility (figurativeness / image) and rationality (abstractness / conception) is the ultimate spirit of western painting. From the beginning of the dialectical beginning of the United States by Plato in The Great Episcopal Aspase and the meticulous analysis of Alberti in On Painting, the ideal of “beauty” has always been in Western tradition