论文部分内容阅读
一、前言风格的名称(如矫饰主义、佛兰德斯派及印象主义等)通常只提到了绘画风格的概念,其中并无区分彼此的理论基础,不能让人一目了然。对这些风格名称的深究表明,名称本身并不能揭示出众多归于此风格的作品之间的联系。这些风格派别的划分缺乏明显的共同依据,让不少人质疑名称能否作为区分画作的有效手段。基于此,我将从符号学(即标记与符号的理论)的角度来研究绘画风格。本研究的目的是证明传统风格名称的确立并不随意。以绘画风格的语言模式为基础的一般视觉特征将作为区分各类风格画作的依
I. Preface Styles (such as mannerisms, Flanders and Impressionism) often refer only to the notion of painting style. There is no distinction between the theoretical foundations of each other and no glance at all. A deep study of the names of these styles suggests that the name itself does not reveal the connection between the many works that fall under this style. The lack of a clear common ground for the division of these style factions led many to question whether the name could be used as an effective means of distinguishing between paintings. Based on this, I will study painting style from the perspective of semiotics (ie, the notation of marks and symbols). The purpose of this study is to prove that the establishment of traditional style names is not arbitrary. The general visual features based on the pictorial style of language patterns will serve as a basis for distinguishing between various styles of painting