绘画,是一种双重的、矛盾的存在。它遵循一定的技法去描绘,因而成为由平面的画面显示出立体的表现媒介,我们作为社会群体之所以能够接受和理解这种个体性创造(当然也非尽然),是由于这种手法已被作为一种语法规则,而我们是在普遍承认这种规则的视觉文化环境中接受的社会性教育。绘画的知觉和对物知觉不同,如果观者不具备绘画所处时代固有的视觉语言之规则,就会茫然不知所云。我们在平面的画中,看到了实际上不存在的立体物。而每个人所作的这种纵深感的“猜测”、“假设”,都有赖于我们社会的“视文化”中培养而成的知觉系统。可见,绘画始终在观者共同体的支持下开拓着新的境界,即使到将来,这种法则也不会改变,这就是绘画的社会心理学。 绘画依赖于社会心理,其最好的理论支持莫过于接受美学。接受美学的创始人之一姚斯力图克服历史主义与形式主义的二难境界,从读者及消费者的观点来看艺术。60年代末、70年代初,姚斯把他的理论称为“接受美学”,主张艺术作品的历史本质,决不能被单纯的艺术品生产的考察和作 Painting is a double, contradictory existence. It follows a certain technique to depict it and thus becomes a three-dimensional medium of expression on a flat screen. The reason why we, as social groups, can accept (and of course do not of course) this individual creation is because this technique has been As a grammatical rule, we are socially educated in a visual and cultural environment that universally recognizes such rules. The perception of painting is different from the perception of objects, and if the viewer does not have the rules of the visual language inherent in the era in which the painting is located, he will be at a loss. We saw the three-dimensional objects that actually did not exist in the graphic paintings. Each of these deep-seated “guesses” and “hypotheses” relies on a perceptual system that is nurtured in the “visual culture” of our society. Visible, the painting has always been in the community of viewers open up a new realm, even in the future, this law will not change, this is the painting of social psychology. Painting depends on social psychology, its best theoretical support than to accept aesthetics. Yao Si, one of the founders of the aesthetics of reception, tried to overcome the dilemma of historicism and formalism, from the perspective of readers and consumers. In the late 1960s and early 1970s, Yao Si referred to his theory as “accepting aesthetics,” arguing that the historical nature of a work of art must not be criticized simply by the production of works of art