对绘画软体性的探寻-美术学专业毕业论文.pdfVIP

摘 要 所谓“绘画的软体性”思想，其目的不在于阐明“软体性”这一概念是什么， 而是试图结合自己的绘画实践和体验，通过对绘画的解读和分析，努力探寻和挖掘 绘画中那种本原的生成力量；或者说是从绘画创作的动机、过程、形态和意义上来 做一种反向的追溯和思考。 我将绘画创作的过程看成是有机生命体的循环活动。在不断的探寻和追问之中， 我意识到在理性的规定之外，还具有很多可变可易的、具有模糊性和不确定性的一 些因素，这些因素虽然不像一般概念那样容易被描述和捕捉，但它们真实地存在于 绘画中，对绘画作品的建构起着相当大的作用。我亦发现在绘画创作的过程之中， 伴随着各种动作和力量的掌握，在千锤百炼中身体和思考达到某种非语言式的合作 和推演，达到类似于无法知觉的本能，身体和创造性思维在这里不是以一种逻辑和 程序化的互相补充和添加的方式，而是以一种软性的、模糊的结合方式，形成一个 互通的暧昧中间领域来实现创造活动 。 所以，我所称之的绘画的软体性力量，虽不为肉眼所见，但却被我们所体悟到。 它没有现实的物质特性，但作为一种内在的生成力量而具有本体性的涵义，它所昭 示的是对自身形态的超越。绘画中的软体性还是以一种自然的节奏而存在。总之， 关于绘画的软体性思想，是以生命原理为基础，同时也是以此为目标去解释和探索 绘画的一种精神。 关键词： 柔软 循环 延伸 非本质 模糊性 体悟 IV ABSTRACT The purpose of the so-called ideology of the inner most primitive living body in painting is not to clarify what the concept is, but trying to combine my personal painting practice and experience through the through interpretation and analysis of painting, and strive to explore and exploit the original generate power from the painting; in other words, we say, from the motive, the process, the formation, and the significance of the painting creativity, to make a reversed retrospect and consideration. In my opinion, the production process of painting can be considered as the cycle activities of the organic life. Through continuously exploring and inquiries, I realize the truly existence of a large quantity of changeable, ambiguous and uncertain factors that are out of the rational requirements. These factors are not as easily to be described and captured as the general concepts; however, they truly exist in the painting and play a significant role in the construction of the production. At the same time, along with the mastery of a variety of movement and strength, I dis