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就一般人而言,图的运用类似儿童绘画或地图一类示意图的运用方式,我们且把这利运用形式称之为“示图”形式。这一类“示图”运用的表现方式与西方象形表现的图像技术有着很大的差异。如贡布里奇所说,图像在这一类“示图形式”的表达中是作为事物某一性质的替代物被使用。图形由此构成图式的基本语词和概念,通过特定的语境(甚至与相应的社会行为结合起来,例如游戏行为)在“示图形式”的表达关系中构成相应的意象关联和表达。尽管这种示图文化的平面化、符号化的形式常常呈现很强的程式化特征,但其图式运用方式的综合性和非还原目的的表征性质,反而使这种示图文化的行为特征和知觉领悟形式现岀表征的多向性和极大的开放性。现代艺术家对于写实图式的变革正是基于这一点开始摆脱所谓科学的观觉原则,重新回到认知表达的起点上反省我们对“真实”的、“书质”的观看。
For the average person, the use of diagrams is similar to the way children’s drawings or maps are drawn, and we call this form of utilization “the form of a diagram.” The performance of this category of “illustrations” is quite different from that of western hieroglyphics. As Gonbridge argues, images are used as alternatives to a property of this kind in the expression “pictorial representation.” The graphics thus form the basic terms and concepts of the schema, which form the corresponding imagery associations and expressions in a given context (even in combination with the corresponding social behavior, such as game behavior) in the representation of “schemata ” . Although the planarized and symbolized forms of this pictorial culture often show a strong stylized characteristic, the comprehensiveness of the schemata and the characterization of the non-reductive purposes make the pictorial culture’s behavioral characteristics And perceptual comprehension in the form of symbolic representation of the multi-directional and great openness. It is precisely from this point that modern artists begin to shake off the so-called scientific concept of seeing principles and return to the starting point of cognitive expression to reflect on our view of “real ” and “quality ” based on this.