捍卫绘画:大卫·霍克尼“移动焦点”创作观

Defending Painting:A Study of David Hockney’s Creative Concept of“Moving Focus”

大卫•霍克尼是20世纪以来最为重要的艺术家之一。由于其从艺时间长达60余年,他的艺术创作可以反映出当代艺术的一个重要面向。而“移动焦点”是霍克尼重要的创作观,总体上与“绘画回归”思潮发展一致。多年来,此创作观被认为与中国绘画中的“卧游”“移步换景”有着直接的关系。但实质上,霍克尼的“移动焦点”创作观是通过以西方立体主义的“反焦点透视”为原点,并借助美国汉学家乔治·罗丽在《中国画原理》中提出的中国卷轴画形式原则“移动焦点”转化而来。霍克尼以此来矫正图像再现的真实性,并试图从中寻找重新赋予绘画合法性的因素。事实上,霍克尼的“移动焦点”创作观依旧停留于他对“观看”的执着,但其最重要的价值在于为当下的艺术创作提供了一个新思路。

David Hockney is one of the most important artists since the 20th century.Due to his artistic career spanning over 60 years,his artistic creations can reflect an important aspect of contemporary art“.Moving focus”has been a crucial creative concept of Hockney,which is generally consistent with the development of the“painting regression”thought trend.For many years,this concept of creation has been considered to be directly related to the“woyou”(refers to the viewer joining in the virtual environment of landscape painting and enjoying all-round perception of the aesthetic experience of the painting)and“move for scenery”in Chinese painting.However,in essence,Hockney’s“moving focus”creation concept is transformed from taking the“anti-focus perspective”of Western cubism as origin and using the“moving focus”of form principle of the Chinese scroll painting found by the American sinologist George Rowley in Principle of Chinese Painting.Hockney uses this to correct the authenticity of image representation and attempts to find factors that give painting legitimacy again.In fact,Hockney’s creative concept of“moving focus”still remains in his obsession with“watching”,but its most important value is to provide a new idea for current artistic creation.