浅谈当代油画人物形象表现的新探索——《谜一样的表情》的创作体会

在当代信息高度发展变化的今天,绘画艺术的表达应当向视觉艺术的创造形式发展。关注当代艺术和花样繁多的时尚文化,更注重艺术作品本身的形式美感,对作品的某些要素进行夸张或者削弱,强调作品的视觉语言,强调真实的自我表现,强调感知世界的方式和途径,强调个人体验与精神选择。本文旨在通过对当代油画人物形象表现的新探索,进一步关注当代油画人物形象的创作发展方向,促进人物形象在新表现中更加自由,更加独具魅力。通过人物形象表现的新探索激起人们的审美情感,促进并寻求绘画艺术在当代社会中所表现的新观念、趣味及方式。

Hamlet＇s Mobled Queen： The Displacement of the Figure in Contemporary Discourse, Communication, and Art

The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figure, in relation to the perception and representation of space and the role and form of the sign. According to this philosopher, the figure dominates the communication process by deconstructing the text. Both the topography of the figure and art is the result of repression processes and the subsequent discharge of libidinal energy. Art in particular is a formalism of the death drive, according to Lyotard. The figure of ＂the mobled queen＂, the expression of a possible slip of the tongue in Hamlet, becomes a symbol of the distorted relationship of the visual, the semantic, the ethical, and the critical role of this in art and communication. In addition to Lyotard＇s model, the possible figures of globalization will be discussed in relation to Peter Sloterdik＇s Globes. Spheres II.

以汗巾为线索浅析《红楼梦》的艺术内涵

汗巾在古代指手帕或腰带,在《红楼梦》中作为配饰曾多次提到。除了拭泪、擦汗、掩齿等平常作用以外,它还有更深层次的作用:一是作为情感媒介,在宝黛爱情、芸红之恋、贾琏尤二姐偷情、蒋玉函及宝玉与袭人等感情线中,不但推动了情感发展进程,而且增添故事的曲折性和朦胧美。二是在人物形象塑造方面,使人物形象特征更鲜明,如黛玉之真性情,莺儿宝钗之贤惠,袭人之体贴,晴雯之自尊,鸳鸯之刚烈等等。总之,汗巾这一配饰在小说中不容小觑,其背后的艺术内涵值得我们进一步推敲和探究。