弗拉芒画派感官视觉空间与材质的探秘

Exploration of The Flemish School from The Perspective of Sensory Visual Space and Material

弗拉芒绘画的空间关系一直是学界研究的难点,其在画布上运用感官视觉原理完成空间的展现,呈现了不一样的空间解读方式。感官视觉空间的表达与材质的秘密,既有对"图像空间"的理解方式,又有材质美学的感官本能认知。文艺复兴以来的绘画是在吸收古希腊艺术遗产的基础上发展起来的,开拓了绘画中的视错觉效果,而弗拉芒绘画观看方式的特殊性有别于意大利文艺复兴以来的焦点透视,对弗拉芒绘画视觉空间的解读,也许只是不同时期对历史的理解与解释不同而已。本文从早期弗拉芒画派代表人物扬·凡·艾克的作品着手,寻找多点透视的共性,探寻其空间的呈现方式,并分析弗拉芒画派及追随者们在运用油画材料与技法呈现空间方式的差异,论证感官视觉空间的存在形式。

The spatial relationship involved in the paintings of the Flemish School has always been regarded as a difficult point in academic research.Through the use of sensory and visual principles on the canvas,these works completed the display of space and presented a unique way of spatial interpretation.As for the secret of expression of sensory visual space and material,it not only includes the way of understanding"image space",but also involves the sensory instinct cognition of material aesthetics.The art of painting since the Renaissance has been developed on the basis of absorbing the artistic heritage of ancient Greece,and has opened up the effect of optical illusion in painting.The particularity of Flemish painting’s viewing method is that it is different from the focus perspective that has prevailed since the Renaissance in Italy.The interpretation of the visual space in Flemish painting may only be derived from the different understanding and interpretation of history in different periods.Starting from the works of Jan van Eyck,a representative of the early Flemish school,this paper attempted to find the commonality of multi-point perspective,explored its way of space presentation,analyzed the differences in the way the Flemish school and its followers use oil painting materials and techniques to present space,as well as demonstrated the existence of sensory visual space.