摄影的归摄影 绘画的归绘画——与三位天美艺术家探讨影像绘画“灵韵”的复归  

Photos are Photos,Paintings are Paintings:A Discussion with 3 TAFA Artists over the Return of "Aura" in Photo-Based Painting

作　　者：梁丽霞[1] 

机构地区：[1]天津美术学院艺术与人文学院

出　　处：《天津美术学院学报》2015年第8期82-84,共3页Northern Art:Journal of Tianjin Academy of Fine Arts

摘　　要：作者以"摄影与绘画关系"的问题采访了三位毕业于天津美术学院的艺术家,三人的作品均是以照片作为蓝本的"影像-绘画"。处于图像时代、消费社会的艺术家是当代文化的消费者和体验者,他们在艺术创作中把握摄影的文化价值,并以一种"影像-绘画"的方式参与当代文化的生产。照片可以客观留存物象的特点,使得画家创作过程更为便利。虽然"影像-绘画"是画家参照照片绘制的,但它并非照片的翻版或附属物,而是拥有画家独特视觉经验的独立体。"影像-绘画"具有的人工性,将照片主观表现不足的、生活截图似的影像转换为重获灵韵的图像。Regarding ＂the relationship between photography and painting＂, the author interviews three artists who graduated from Tianjin Academy of Fine Arts, and whose works are all ＂photo-based paintings＂ with photos as origins. Artists in this image era and consumption society are consumers and experiencers of contemporary culture. They weigh the cultural value of photography in art creation, and take part in the production of contemporary culture by means of ＂photo-based painting＂. Photos objectively capture the objects＇ features and facilitate painters＇ creation. Though ＂photo-based paintings＂ are drawn against photos, they are not duplicates or subsidiaries of photos; instead, they are independent works with the painters＇ unique visual experiences. The man-made aspect of ＂photo-based paintings＂ turns the screenshot-like images that photos fail to present subjectively into those with aura.

关 键 词：摄影 绘画 影像绘画 灵韵 

分 类 号：J40-05[艺术—摄影艺术]