Research paper on visual art

In fact, contemporary art is a cultural phenomenon under a specific cultural background, and contemporary art itself is a cultural and artistic phenomenon that needs in-depth study. The following is my research paper on visual art for your reference.

Model essay 1: On the application of symbols in visual arts. Semiotics mainly involves the thinking process of simulating the objects perceived by people in visual sensory and psychological experience in the form of points, lines, surfaces, bodies, lights and colors, and then regenerating them through transformation in object vision. Broadly speaking, we can understand the symbolic images in works of art and the works of art themselves as symbols.

Visual arts; Symbol; Conversion; reborn

The famous symbolist Amberto? Umberto eco said? Man is a symbolic animal. ? 1 Humans express their inner world and transmit information through symbols. Communicate an integrated concept to the other party through certain language forms, including sound, vision and physical behavior. Semiotics is a theory about symbols and their applications, including viewing symbols. Semiotics is not a historical discipline, but an explanatory discipline, but it can be effectively integrated in historical exploration. Semiotics focuses on the problems of composition and expression. Words? As a specific symbol combination that produces meaning. This is a limited perspective without hegemony and coercion. 2

Judging from the representative theory, witchcraft and labor theory, the origin of art can be regarded as the beginning of human symbolization. Primitive people used their limbs to capture the movements of animals, imitated the chirping of animals with sounds, described the shapes of animals on cliffs with minerals, and danced and communicated with simple language, so they had the original dance symbols, music scores, artistic symbols and language symbols. With the increasing complexity of social division of labor and the continuous progress and development of human society, the content of symbols has become more and more complex and subtle, and has been widely and deeply applied in different fields of natural science, humanities and social science.

As a humanistic science, visual art studies the relationship with the naked eye. Semiotics mainly involves the thinking process of simulating the objects perceived by people in visual sensory and psychological experience in the form of points, lines, surfaces, bodies, light and colors, and then regenerating them through transformation in object vision. Broadly speaking, we can understand the symbolic images in works of art and the works of art themselves as symbols. As a set of tools, semiotics provides a series of useful ideas and concepts, which I find can be used to analyze works of art in depth and detail. When these thoughts and concepts may be triggered by psychoanalysis, narrative and modification theory, they will produce insights that do not conflict with traditional art history. In fact, these ideas and concepts often enable students to use the methods that can be used between disciplines more accurately and make the explanation more systematic. three

First, the classification of visual art symbols

At present, in the field of symbol theory research, it is generally believed that symbols can be divided into the following three different types, which are also the three levels of symbols: 4.

1, icon: Icons are formed by simulating the similarity between graphics and objects. Icon is a process of direct perception, which belongs to the category of realism in iconology. Such as portraits, photographs, etc. When we face such works, we can usually get more intuitive feelings, such as? What is on the screen? ?

2. Indicator (index): the causal or spatio-temporal relationship between the indicator and the referred object. Like what? Signs, road signs? . Broadly speaking, the law of visual flow in design art also belongs to the category of indicative symbols. Because of the physiological characteristics, the eyes will show a timeliness, directionality and selectivity when browsing, that is to say, the line of sight will selectively move in a certain direction along the center of gravity of the picture, that is, the best field of vision, which embodies the characteristics of visual fluidity.

3. Symbol: There is no necessary or internal connection between the symbol and the object it refers to, and it usually refers to an agreed result. The object it refers to and the acquisition of relevant meaning are the association sets produced by many people's feelings for a long time. At the same time, the symbolism of symbols is also the deepest feature in semiotics, and it is the extension and association of related connotations in the process of symbol generation and object thinking. For example, the twists and turns of lines, the warmth and coldness of colors, and the softness and hardness of materials will all give people corresponding emotional experiences.

Second, the understanding of visual art symbols

The process of human consciousness is actually a process of symbolizing the world, and thinking is nothing more than an operational process of selecting, combining, transforming and regenerating symbols. So it can be said that people think with symbols, and symbols are the main body of thinking. So how do we interpret images from the perspective of semiotics, and how do symbols alienate what we already know in order to understand something new? Here, I want to use the principles of semiotics to analyze the contemporary oil painter Zhang Xiaogang's work Young Man.

Zhang Xiaogang's canvas oil painting "Young Man"

1, generate image consciousness

Interpreting visual symbols is sometimes a very complicated process, which needs to be understood by combining the concepts of psychology and history.

When we appreciate a visual art work, we will first form a representation in our thinking, that is, what is in the work, whether it is a concrete symbol or an abstract symbol. For example, when we came into contact with the contemporary oil painter Zhang Xiaogang's Young Man, the first thing we realized was a young man with glasses, with a red scar on his face, a gray-blue tone and a red scar. 2. Explore the symbolic meaning of images.

After getting the above information, we will want to know what is hidden in the creative intention of the artist (that is, the symbol creator). Deeper? , or derivative meaning. If we say that a work has a deeper meaning, it usually means that the work conveys a potential idea that we can't determine in the initial observation, that is, the symbolic meaning of the symbol. Of course, we need to find the artist's intention. We must have a basic understanding of the artist himself and the background of his time.

Let's try to explore and explain the conceptual information that artists want to convey now. As we know, Zhang Xiaogang was born in the late 1950s, and he experienced the most turbulent historical period after the founding of New China, especially The Book, which had a profound impact on people at that time.

So now we go back to the picture (symbol) itself, a young man with a flat head, clean and fair skin, a standard style of weak scholar. As we know, glasses are the symbol of knowledgeable and literate people, and Zhongshan suit is a common dress in that era. The gray-blue background sets off a gloomy, lonely and indifferent atmosphere. A scar on the cheek looks like an epaulet, especially Leng Yan. Combined with the above analysis, we can also understand it as a red brand in that passionate era. Eyes were attracted to the lower left corner, slightly dull, lips slightly parted as if watching a shocking scene, expressionless, and a lonely and depressed mood was fully expressed. All the symbols are recalling the scar theme of an era, which is not only a memory, but also reflects the indifference between people in the real society.

After the creator of visual art symbols produces an idea, he synthesizes his own understanding of symbolic symbols and chooses appropriate visual means to convey this idea. Then the receiving object, that is, the audience, transforms and regenerates the received visual information through their own mastery and understanding of symbolic language. (Continued from page 99) (Continued from page 98) Of course, due to the differences in personal emotional characteristics, life experience and knowledge structure, the form in which a work is finally restored to the audience's thinking is different, so there are? A thousand readers have a thousand hamlets? Said. When a person sees a Dutch still life painting showing a fruit bowl, the image is a symbol or representative of something else. The viewer forms an image about this thing in her mind, and she or he will associate this image with this thing. The spiritual image, not the individual who formed it, is the interpreter. This interpreter points to an object. For each viewer, the object is different: for one person, it can be real fruit, for another person, it can be other still life paintings, for a third person, it can be a huge sum of money, for a fourth person, it can also be? /kloc-Holland in the 0/7th century? , and so on. Therefore, the object of this painting is basically subjective and decided by the receiver.

Visual art itself is about the expression of symbols, and the creator conveys his own thinking process and conclusion to the viewer through symbols to achieve the purpose of narration; In other words, it is through the creator's works and his own experience that the viewer finally understands the thoughts and feelings that the creator wants to express. Obviously, visual art works, as an intermediate medium, act as the symbol of the creator's thoughts and feelings at this time, and whether the information required by this symbol can be accurately, quickly and effectively accepted and recognized by the viewer becomes the symbol of the success of the creation. This is determined by the accuracy and effectiveness of symbol selection, combination, transformation and regeneration in the process of creative thinking.

refer to

[1] Li Youyan's Introduction to Theoretical Semiotics, Social Science Literature Publishing House,1June 1999.

[2] Mick? Barr: Reading symbols/interpreting paintings? Understanding visual art with semiotics was published in World Art, issue 1, 2007.

[3] Bar? Bresson: Semiotics and Art History 199 1 year.

[4] Chang Ningsheng's Graphic Method of Art History and Its Application was published in the first issue of World Art in 2004.

Visual arts research paper model essay II: Discourse interpretation of the phenomenon of color visual arts Abstract: The development history of a visual art is also the development history of color. From the worship of color in ancient times to the imitation of color in classical times, from The Romantic Period's liberation of color to Impressionism's fascination with light and color, every re-understanding and re-interpretation of color in the history of art will always lead to great changes in visual art, resulting in new visual art phenomena and theoretical discourses.

Keywords: color, inherent color, folk color, light and shadow impression

The so-called color, in a general sense, is people's feeling of color. The love of color and the choice of color are extremely subjective. Don't make a certain color standard absolute. We should recognize the diversity and development of color standards, understand their respective characteristics from the ever-changing color concepts, study their similarities and differences, and grasp their internal relations, so as to achieve it in the color world? Is everything ready for me? Instead of being confined to a narrow range. Preference is allowed, but paranoia and prejudice are not conducive to the development of art.

Inherent color? The ideal color of eternal beauty

People in Taikoo Li use color as a means to show the painted object from the background, that is, to separate the object from the spatial background, so they only know red and black, because red is the most eye-catching, and black has the greatest contrast with the bright background, so in their view, red is beautiful and black is beautiful, so the combination of red and black is beautiful. By resorting to artistic expression, they attributed all the colors in nature to red and black. Hemudu Neolithic wood is decorated with red and black; Painted pottery all over the world is decorated with red and black; Primitive cave murals are mostly red and black? The preference for black and red collocation has been passed down to this day, especially in the costumes of some ethnic groups. China's Tibetan costumes and Yi costumes are mainly red.

People enrich their feelings in practice, increase their understanding of external things, and grasp the eternal and lasting inherent color of objects in early artistic activities in order to seek their proper connection in space. In this way, people have discovered the static beauty of color, and thus have the pursuit of eternal value of color and the concept of inherent color.

Art is inseparable from imitation. Both democritus and Aristotle believe that the power of art is imitation. Da? Finch even said: If you are not an all-round master when imitating all forms of features produced in nature with your own art, then you can't be a good painter. ? The color concept of inherent color is produced by imitating the eternal and solidified color beauty of nature.

The concept of inherent color has long dominated artistic creation, and in the west, Renaissance works are the most representative. In China, figures in the Tang Dynasty, flowers and birds in the Song Dynasty and many excellent folk art works can be cited. They have achieved great success in the expression of inherent colors and the spatial arrangement of color blocks. The experience of using intrinsic colors can be summarized as follows:

First, color compatibility. For example, the Renaissance masters often use rose red, sky blue and silver gray, while China folk arts often use vermilion, ultramarine, scarlet, stone green and golden yellow. These colors have the beauty of unity of opposites.

Second, color convergence. What folk recipes are there in China? Workshop full of green, full of flowers; It is better to die than to ask purple. Wait a minute. Different connection ways of inherent colors will form ever-changing color perception.

Third, purity comparison. This contrast is an important means to adjust the relative relationship of colors. Its strength is appropriate, the subject and object are distinct, and the strength of color is balanced in space.

Fourth, brightness contrast. The way to create a three-dimensional effect on a two-dimensional plane is to contrast light and shade. The unique contrast between light and dark not only makes the image stereoscopic but also makes the picture feel heavy.

5. area comparison. Area contrast makes the colors change in weight and complement each other in space, thus producing a distinct color rhythm.

Since ancient times, the theory of artistic empathy has been accompanied by representative theories. Although the inherent color is to imitate nature, there are also romantic expressions along the way. They don't take imitation as a complementary color, but take? Painting is not decent and not good-looking. For the purpose. They draw the simplicity and solidification of the inherent color, and use the spatial balance of the inherent color as a means to drive the color rate of the works and achieve the ideal color effect. For example, Miao Xiu, folk paper-cutting, Yuxian paper-cutting and Mianzhu Door God are all color models treated by romanticism with the concept of inherent color.

A faint impression? The fleeting natural color

Optics discovers the physical essence of color, reveals the internal relationship between color and light, and the decomposition and mixing of color and light; Physiology has discovered the essence of human color vision, so as to understand the relationship between color attenuation and complementary color, and the basis of panchromatic requirements. These findings gave great inspiration to the art colorimetry, which resulted in the Impressionist color view. Therefore, painters chase light with color, chase the tremor of light, chase the passing of light, chase the confusion of light, walk out of the eternity and solidification of inherent color, move towards the flow of time and space, and get the fleeting impression of light.

It can be said that the color concepts and techniques of Impressionism are not only the products of optical achievements, but also the products of western artistic traditions. Only these traditions have become more systematic and theoretical by impressionist painters, thus establishing its position in art history. Impressionists believe that color is light, so:

First, all visually perceptible objects are the result of light irradiation, and all light must be colored. The color of an object depends on the light source color, the ambient color (reflective color) and the color contrast. That is, the color changes with the light source and environment, and relatively exists on the screen.

Second, replace the classical color palette with sunlight spectral color.

Third, the pursuit of the golden effect of the spectrum, often cited the hue of the spectrum.

Fourthly, complementary color relationship is an indispensable means for impressionist painters. For example, in nature, sunlight and skylight are a pair of natural complementary colors.

5. Use the mixing of light instead of the mixing of pigments, so the colors are subdivided and juxtaposed to make the colors richer? Loud? .

Sixth, in the color juxtaposition, the lightness is often similar, and the juxtaposition of cold and warm is inaccurate. This is the technique of simultaneous comparison. At this time, the same color pushes each other to their respective complementary colors, thus improving the color price of both sides, losing stability at the same time, obtaining the tremor of light, showing vitality, thus realizing the dematerialization of color and becoming trembling light. Goethe once said:? Meanwhile, the contrast determines the practical value of color aesthetics. ?

Impressionism liberated color from the objects connected with it and eliminated the inherent color of objects, thus painting entered a new realm. Impressionism is an admirer of light and a devout missionary of light. They opened a splendid world, but while following the light, they lost the spiritual power that art once had and the symbolic content of clarifying the world, and stayed on the material surface of things.

Performance color? Return to subjective modern colors.

Practice shows that the gorgeous coat of light is obtained at the expense of the internal quality spirit. This contradiction is directly manifested in the contradiction between sketch and color in technique. When sketch is especially needed in performance, the change of color and light can't be ignored. Classicism, neoclassicism and pre-Raphael are all like this; When the performance pays special attention to color and light, sketch has to take a back seat. Impressionism is like this. Pizarro taught young painter Lebel? Pay more attention to the color of the body, and don't pay too much attention to sketch. Too accurate sketch is boring and can't give people an overall impression. This is the impressionism's choice between sketch and color.

Renoir achieved great success in impressionism experiment, but also felt the crisis of impressionism, so he went to Italy to learn from his predecessors. He fell in love with Raphael's paintings and highly appreciated the simplicity and grandeur of Angel's oil paintings. After studying Raphael, he finally felt that he had neglected the sketch. After returning from Italy, he devoted himself to simplifying characters at the expense of color, strengthening sketches, returning to classical painting, and canceling the occasional light in the picture, so he started his own? Classical period? . His work? Umbrella? The naked woman he painted in Naples is the record of returning to the classical inherent color concept.

After impressionism, philosophers saw that impressionism's color view was limited to the superficial light color change and ignored its internal unchanging structure, so they embarked on the opposite road to impressionism. First of all, Cezanne, the pioneer of modern art, tried to get rid of the flickering and vague appearance of things and devoted himself to expressing the so-called unchanging real and internal structure. As far as color is concerned, Cezanne is different from impressionism. He makes colors orderly. Through organization, color becomes more regular, concise, but more intense, so it has a sense of stability and clarity, thus realizing the extraordinary power of visual image. His artistic concept and practice deeply influenced later painters, such as Matisse, who was inspired by Cezanne and abandoned impressionist painters? Charming, bright and lively? The pursuit of painting? Stability? It is believed that a balance must be established among all the colors that make up the picture, so the surface feeling must be exquisite, and it is the exquisite feeling that makes up the picture. Kandinsky said:? Internal factors, that is, feelings must exist, otherwise works of art are fakes. Internal factors determine the form of the picture. ? Picasso summed it up:? I'm not imitating nature, but facing nature? Use nature. ? After Cezanne, various schools competed against impressionist objectivism and emphasized the role of subjective will, so they concentrated on pursuing formal beauty and abstract beauty and moved towards expressing subjectivity. In terms of color, it is natural to move from objective color to subjective color at the same time.

However, modernism took over the weapon of impressionism and went to its opposite side. Impressionism discovered the color of nature, and modernism made these discoveries orderly, solidified and powerful. Or impressionism captures perceptual color, modernism digs rational color, and modern art puts the subjectivity and spiritual value of color in an unprecedented position, perfecting the combination of subjective personal feelings and objective color laws.

References:

[1] Who's Who of Italian Art Park in Qiao Erqiao, Italy? Vasari, translated by Liu Yaochun, Hubei Fine Arts Publishing House, 2003.

[2] Modern Aesthetics System, edited by Ye Lang, Peking University Publishing House, 1988 edition.

[3] History of Chu Art, written by Pi Daojian, Hubei Education Press, 1995.

[4] "Talking about Beauty Abroad", written by Chen Zhu, Huashan Literature and Art Publishing House, 2003 edition.

[5] History of Chu, Zhang Zhu, Hubei Education Press, 1995.

[6] Poetics, written by Aristotle, People's Literature Publishing House, 1982.

[7] Catalogue of Ancient Paintings, written by Xie He, Dizhi Culture Publishing Co., Ltd., 200 1 edition.

[8] Italian Renaissance Art, by Xu Qingping, Renmin University of China Press, 2004.

[9] Impressionism, Ma Fenglin, Hubei Fine Arts Publishing House, 2005.

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