埃舍尔的错觉艺术研究 文艺学专业论文.docxVIP

II II Abstract Maurits Cornelis Escher (1898-1972) is one of the greatest artists in the first half of the 20th century in Holland. His works are calm, wise and full of illusion which confuse critics, thus he is regarded as “a hard-classified artist”. He considered that there exists the contradiction between two-dimension and three-dimension in every two-dimension presentation, so painting is to create illusion through viewers’ imagination. Visual psychologists think the creation of illusion in art depends on the projection of the viewers knowledge and experience, that is to say, when watching a picture, viewers seek orderly meaning from a mass of disordered shape and color, and they will set the picture, once a consistent explanation is found. Escher has a clear understand of this point. In order to hinder viewers from finding a consistent explanation, he deliberately constructed contradiction clues in the picture to create images that cannot exist in reality through rebelling against and inheriting the traditional mode. His illusion of art is never for portraying beautiful things, but showing the essence of painting. Escher attempted to get rid of the shackles of reproduction nature of painting, and expand the performance of painting to a wider area. Viewers always come up with difficulties when analyzing Escher’s illusion art. The clearer his representation is, the more complex the viewers may feel. Viewers experience an aesthetic entertainment from this complex feeling. From the comprehensive survey of Eschers work, the mathematical plane mosaic or the paradox of spatial composition, we can see that he devoted his life to search and expand the possibility of expressing two-dimension, and every painting is the record of his thoughts. This thesis, focusing on the ideological core of Eschers illusion art, the contradiction and tension of two-dimensional art, analyzes Eschers illusion of art as a whole. Starting with the expression form of Escher, basing on the illu