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纵观摄影发展史,至今1 75年的发展历程中,摄影始终和绘画保持着剪不断、理还乱的暧昧关系。在摄影史的早期,摄影就像一个襁褓中的婴孩儿,时时处处需要绘画的营养去滋养来成长。二者都具有二维平面视觉艺术特征,绘画不管是在题材、主题还是构图、用光上,都全方位、多向度地供给摄影,扶持摄影确立并使摄影逐渐完善自身的本体语言特征。后来,摄影对绘画造成了实实在在的威胁。摄影对客观的精确复制崩塌了西方绘画“写实”技术几百年的苦心经营。在德拉罗什惊呼“从
Throughout the history of photographic development, in the course of development of 1975 to the present, photography has always maintained an ambiguous relationship with the painting. Early in the history of photography, photography was like a baby in infancy, growing up with the nutrients that need painting to nourish. Both of them have the characteristics of two-dimensional planar visual art. The painting supplies omni-directional and multi-directional photography in theme, theme, composition and use of light, and supports photography to establish and make photography gradually perfect its own ontology language features. Later, photography posed a real threat to painting. The exact reproduction of photography collapsed hundreds of years of painstaking work of western painting and ”realistic“ techniques. Exclaimed at de La Luo Shi ”from