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作 者:毛雪 Xue Mao(China Academic of Art,Hangzhou,China 310024)
机构地区:[1]中国美术学院,310024
出 处:《流行色》2022年第3期74-77,共4页Fashion Color
摘 要:音乐与色彩的同构关系由来已久,但在理论层面,缺少跨学科的对比研究。故本文通过艺科融合的视角,以数学界的“递归”、“同构”概念,心理学的“联觉”概念作为桥梁,以色彩学为基础学科,梳理“色音联觉”的关系,并进行理论建构。首先,追溯“色音联觉”的理论基础。其次,将日本东山魁夷作品中所运用的“色彩递归”方法与德国作曲家巴赫的“赋格”方法进行同构比较。将研究现象提炼为“色音同构联觉”的“四维度”,即来源同构联觉、形态同构联觉、调式同构联觉、情感同构联觉。其意义体现在两方面,一是理论层面,构建普世的“音色同构联觉”理论。二是应用场景层面,跨越视觉或听觉的单一感受,为视听艺术中的“有色听力”创作,提供理论依据。Music and colour,as human hearing and visual art,are closely related to human psychological feelings and symbolic associations.There is an isomorphic relationship between music and color.Although colorists and musicologists have tried to conduct academic research on the relationship of"tone and color isomorphism"over the years,A certain intuitive understanding cannot be fully unfold and provide more insights of the phenomenon.The reasons of this may occur the disciplinary barriers and lacking of strong cases to evidence that.Therefore,this article uses the concept of"synesthesia"in psychology and the"co-construction"relationship in mathematics as a bridge,conducting a study to compare the fugue and tones in musicology with the modes and tonality in chromatics.In particular,the research studies the colour recursive technique in Higashiyama Kaii's paintings and the Fugue technique in Bach's music.The findings provide a theoretical framework of"timbre-colour synesthesia"which includes four dimensions,namely,isomorphism of source,isomorphism of form,isomorphism of mode,isomorphism of emotion.Using the method of combining theory and case studies,it integrates the isomorphic relationship of timbre with human synesthesia and symbolic association.Thus,at the theoretical level,the research faciliate the understanding of synesthesia theory of timbre isomorphism.At the practical level,it provides theoretical support for artistic creation.
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