【作者】 周鑫；

【导师】 陈学广；

【作者基本信息】 扬州大学 ， 艺术学理论， 2023， 硕士

【摘要】 本文选定“拓本绘画”作为研究对象,拟从“绘画类型”的视角进行探讨。首先,对拓本绘画的研究可以丰富中国绘画史,为我们展现中国绘画的另一种“可能”。其次,从绘画类型角度研究拓本绘画,切口小、辐射力广、穿透力强。既关涉艺术创作、接受、批评等艺术理论层面,也可以在“比较”“关系”的视野中,纵贯各种绘画类型以揭示拓本绘画的本质特征。第一章对本文的研究对象“绘画类型”和“拓本绘画”作初步的界定。就前者而言,笔者借鉴“文类”的相关研究,尝试对“绘画类型”进行定义:绘画类型是根据某个分类标准,在林林总总的绘画作品中归纳出一定数量的、具有共同特征或属性的绘画作品之后,对这部分绘画作品的总体命名。就后者而言,首先,我们将“以拓入画”作为拓本绘画的分类标准,从作品与类型之间的关系角度,命名作为绘画类型的“拓本绘画”,再根据类型中具体的作品面貌将其细分成两种二级类型:“拓本八破画”“拓本补绘画”。其次,再从作品与作品之间的关系,即“文本间性”角度,通过与画史上屏风画等绘画类型的比较,讨论拓本绘画“整体挪用”的特点,得出结论:拓本绘画长于视觉效果构造、“形式”塑造,不善叙事,“隐喻”程式化。“整体挪用”使拓本绘画与前文本之间形成相反相成的张力,艺术趣味于此产生。第二章讨论拓本绘画的分类标准。对拓本绘画的分类,可以从“内容”“形式”角度,或“内容”“形式”“观看”角度进行探讨。就“内容”“形式”角度而言,笔者构建了“对象—画法”的讨论范式,把问题聚焦为对“绘画对象”与“写形”“写意”画法的讨论,得出结论:在拓本绘画“内容”确定之后,从“形式”的分类标准出发,可以把拓本八破画分为写形拓本八破画、形意并举拓本八破画两类。对于后者而言,又可细分出三类:“整体挪用”式、“局部模糊”式、“虚化能指”式。同样,可以把拓本补绘画分为写形拓本补绘画、写意拓本补绘画、形意并举拓本补绘画三类。对于后者而言,又可细分出两类:“整体挪用”式、“颖拓做旧”式。就“内容”“形式”“观看”角度而言,笔者梳理了三元分类思想下的七种绘画类型,并对拓本绘画进行类型定位,得出结论:从“观看”出发,赋予“内容”“形式”两分类标准以先后观看顺序,以此划分出七种绘画类型。而拓本绘画横跨四种,游走在幻觉画、照相写实画、具象画、具象表现画四种绘画类型之间,并具有向表现性绘画跃进的“动势”。第三章从拓本绘画类型的本质特征、核心要素“拓”能指出发,对拓本绘画进行文本细读,进一步探讨此绘画类型的特征。本章的行文思路是:“拓”何以入画、“拓”怎样入画、“拓”能指与其他能指关系以及基于绘画类型风格的审美范畴的建构。在第一节(“拓”何以入画)中,笔者讨论了拓本绘画类型中的三种“元语言”冲突:首先,拓片与绘画都是作为客观实物而存在的,却分属不同的类别。其次,拓片所“闯入”之“画”为国画,而国画的表现对象,亦即题材,是有一定偏好的,并不是一切事物都为国画所乐意表现。最后,从拓片与绘画本有的功能来看二者“元语言”的冲突。拓片指向“存真”,而绘画指向“虚构”、指向“审美”、指向“艺术”。在第二节(“拓”怎样入画)中,笔者运用符号学的相关理论,分析了拓本绘画中的“拓”能指是“对象物”“媒介物”“载体物”三种特征的融合,尤其是对于“载体物”的凸显,构建出别具一格的观看方式。在第三节(“拓”能指与其他能指关系)中,笔者将“拓”能指置于画面的能指之网,从诸能指“关系”的角度进行探讨,并运用符号学中“双轴关系理论”对拓本绘画诸元素进行分析,并甄选或期待更加优秀的拓本绘画:对于拓本八破画而言,一、减少组合轴中元素的数量,抬高聚合轴中元素的选择标准;二、将组合轴中各元素的排列位序作进一步规定,避免组合轴中元素邻接关系的无序;三、将组合轴中关键、主要能指设置在画面的重要位置上;四、统一双轴中诸多元素的风格,在不破坏“杂乱”基调的基础上,形成二级风格。对于拓本补绘画而言,一、增加组合轴中元素的丰富度;二、对于聚合轴中丰富的候选元素进一步筛选,在创构手段上多“琢磨”,凸显个性化意味;三、“复写”组合轴,由此增加画面的丰富性与更加个性化的表达。在第四节(基于绘画类型风格的审美范畴的建构)中,当对拓本绘画类型的总体面貌已了然于胸,本节要做的工作就是在理论层面予以总结归纳。“奇熟”“趣雅”二范畴便是基于绘画类型风格而建构的审美范畴。第四章在基于前三章对拓本绘画类型的总体把握的基础之上,本章以“全局”的眼光检视拓本绘画类型的边界。笔者认为,拓本绘画类型的边界得以清晰要归功于分类标准的多层布控:从最初的视觉能指,到艺术手段的选择,再到终极所指。每个层面的布控力度逐渐增大。而拓本绘画类型边界被突破,是发生于“艺术手段”层面的,最终表现为视觉能指的变动。而最具“意味”的拓本绘画作品,既不是“死守”类型边界的作品,也不是“跃出”类型边界的作品,而是具有“跃出”边界“动势”的作品。在对拓本绘画类型边界相关问题进行分析之后,笔者对当代绘画进行反思:优秀的绘画作品应当在“类型”的规训下诞生,基于传统而有所突破,如此才具有艺术品格。更多还原

【Abstract】 This article selects "Rubbings Painting" as the research object and intends to explore it from the perspective of "painting types".Firstly,the study of rubbings can enrich the history of Chinese painting and showcase another ’possibility’ of Chinese painting.Secondly,studying rubbings from the perspective of painting types requires small incisions,wide radiation,and strong penetration.It not only involves artistic creation,acceptance,criticism,and other theoretical aspects,but also can penetrate various painting types from the perspective of "comparison" and "relationship" to reveal the essential characteristics of rubbings.The first chapter provides a preliminary definition of the research objects of this article,namely "painting types" and "rubbings painting".As for the former,the author draws inspiration from relevant research on "genre" and attempts to define "painting type":painting type refers to the overall naming of a certain number of paintings with common characteristics or attributes that have been summarized from a certain classification standard in the vast array of paintings.As for the latter,first of all,we will use "extension into painting" as the classification standard for rubbings.From the perspective of the relationship between works and types,we will name "rubbings painting" as the type of painting,and then subdivide it into two secondary types based on the specific appearance of the works in the type:"rubbings eight broken paintings" and "rubbings supplementary paintings".Secondly,from the perspective of the relationship between works,namely the "intertextuality",and by comparing it with painting types such as screen paintings in the history of painting,the characteristics of "overall appropriation" of rubbings are discussed.The conclusion is drawn that rubbings are better at visual effect construction and "form" shaping,but not good at narrative and "metaphorical" stylization.The "overall appropriation" creates a tension between the rubbings and the previous text,which creates an artistic interest.The second chapter discusses the classification criteria for rubbings.The classification of rubbings can be explored from the perspectives of "content","form",or "content","form",and "viewing".From the perspective of "content" and "form",we have constructed a discussion paradigm of "object painting method",focusing on the discussion of "painting object" and "writing form" and "freehand brushwork" painting methods.We have come to the conclusion that after the "content" of rubbings is determined,starting from the classification criteria of "form",rubbings can be divided into two categories:writing form rubbings and combining form and meaning.For the latter,it can be further divided into three categories:"overall appropriation" type;The "local ambiguity" formula;The formula of"virtual signifier".Similarly,rubbings can be divided into three categories:form based rubbings,freehand rubbings,and both form and meaning based rubbings.For the latter,it can be further divided into two categories:"overall appropriation" type;The ’Yingtuo makes old’ style.From the perspective of "content","form",and "viewing",the author has sorted out seven types of painting under the concept of ternary classification,and positioned the types of rubbings painting.The conclusion is that starting from "viewing",the two classification standards of "content" and "form" are given in order of viewing,thus dividing them into seven types of painting.Rubbings painting spans four types,wandering in illusion painting,photo realistic painting,concrete painting There is a "momentum" between the four types of concrete expression painting and a leap towards expressive painting.The third chapter points out the essential characteristics and core elements of the Rubbings painting type,"Tuo Neng",and conducts a detailed reading of the text of Rubbings painting to further explore the characteristics of this painting type.The writing ideas of this chapter are:why "Tuo" is used in painting,how "Tuo" is used in painting,the relationship between "Tuo" signifier and other signifiers,and the construction of aesthetic categories based on painting style.In the first section(why "Tuo" is used in painting),the author discusses three types of "meta language" conflicts in rubbings:firstly,rubbings and paintings exist as objective objects but belong to different categories.Secondly,the "painting" that rubbings break into is traditional Chinese painting,and the subject matter of traditional Chinese painting has certain preferences,and not all things are willingly represented by traditional Chinese painting.Finally,from the perspective of the inherent functions of rubbings and painting,we can see the conflict between the two ’meta languages’.Rubbings point to "authenticity",while painting points to "fiction","aesthetics",and "art".In the second section(how "Tuo" is used in painting),the author uses the relevant theories of semiotics to analyze the integration of the three characteristics of "Tuo" in the rubbing painting,namely,"object","medium" and "carrier",especially for the prominence of"carrier",to construct a unique way of viewing.In the third section(the relationship between"Tuo" signifier and other signifiers),the author places the "Tuo" signifier on the network of signifiers in the picture,discusses it from the perspective of the "relationship" of various signifiers,analyzes various elements of rubbings painting using the "double axis relationship theory" in semiotics,and selects or expects more excellent rubbings painting:for eight rubbings,first,reduce the number of elements in the combination axis,Raise the selection criteria for elements in the aggregation axis;2、Further specify the arrangement and order of each element in the combination axis to avoid disorder in the adjacency relationship of elements in the combination axis;3、Set the key and main signifiers in the combination axis at important positions on the screen;4、Unify the style of many elements in the dual axis,forming a secondary style without breaking the "chaotic" tone.For rubbing painting,firstly,increase the richness of elements in the combination axis;2、Further screening of rich candidate elements in the aggregation axis,and more "pondering" on creative methods to highlight personalized meanings;3、The combination axis of "carbon copy" increases the richness and more personalized expression of the screen.In the fourth section(Construction of Aesthetic Categories Based on Painting Style),when the overall appearance of the Rubbings painting type is fully understood,the work to be done in this section is to summarize and summarize it at the theoretical level.The categories of "strange and familiar"and "interesting and elegant" are easy to construct based on the aesthetic category of painting style.The fourth chapter takes a"holistic" perspective to examine the boundaries of rubbing painting types on the basis of the comprehensive understanding of the types of rubbing paintings established in the previous three chapters.The author believes that the clear boundaries of the type of rubbings in painting can be attributed to the multi-level arrangement of classification standards:from the initial visual signifier,to the choice of artistic means,and finally to the ultimate signifier.The control efforts at each level gradually increase.The breakthrough of the boundary of rubbings painting type occurs at the level of"artistic means",ultimately manifested as changes in visual signifiers.The most meaningful works of rubbings are neither works that cling to the boundaries of the type nor works that leap out of the boundaries of the type,but works that have the momentum to leap out of the boundaries.After analyzing the issues related to the boundaries of rubbings,the author reflects on contemporary painting:excellent painting works should be born under the constraints of "type" in order to possess artistic character.Artistic works that have made breakthroughs based on tradition have more artistic qualities.更多还原