绘画中的幽暗与澄明--以透纳为例

Darkness and clarity in painting--Take Turner as an example

西方的“风景”观念直到18世纪,出现透纳和之后的印象主义实践者,画家才具有投入现实之景的经验,此时,画家进入可感觉的世界,色彩从明暗的附属中解放出来,在自然光韵的浸渐中自行呈现。笔者认为在面对感知被技术所替代的艺术环境,在可感觉的世界中寻回光影即隐且显的原初意义,对当下绘画何为等问题的思考具有一定的启发性。本文以透纳作品中的光影作为探究的对象,通过对透纳绘画中的光色分析,揭示了光与暗的真理性在遮蔽与澄明中显现的艺术本质。

The Western concept of"landscape"was not until the 18th century,when Turner and the subsequent Impressionist practitioners appeared,and the painter had the experience of investing in realistic scenery.At this time,the painter entered the sensible world,and the color was liberated from the attachment of light and shade.It presents itself in the immersion of natural rhythm.The author believes that in the face of the artistic environment where perception is replaced by technology,the original meaning of light and shadow is recovered in the sensible world,which is instructive for thinking about what is the current painting.This paper takes the light and shadow in Turner's works as the object of inquiry,and through the analysis of light and color in Turner's paintings,reveals the artistic essence of the truth of light and darkness manifested in shading and clarity.