记忆中存在的风景
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摘要
本研究的目的在于分析画家的作品是如何反映并表现画家个人“记忆”的。为了达到该目的，研究者通过以下三个阶段进行研究。首先，通过考察东西方的绘画史来研究传统的视觉方式，然后分析从过去到当代视觉方式产生的变化。第二阶段中从具象性绘画再次出现的背景，作品的发展方向和形象的层面分析当代欧洲美术的特征，并将其与个人的记忆联系在一起。尤其在考察和记忆有关的当代美术作品的时候，从众多作品中选择了彼得·多依格的风景作品，分析了其作品中所反映出的视觉表现方式。最后，在“记忆”和“画面语言”这一双重结构的层面上对研究者本人的作品进行了分析，并理论性地展现出研究者作品的特征。具体研究结果如下。绘画中东西方人的传统视觉方式，即三远法和透视法是受古代人宇宙、自然观的影响而形成的绘画空间表现样式。在经历过了产业化，逐渐走向后产业化社会的当今世界中，现代人的价值观和世界观也开始发生变化，因此绘画中传统的空间创作方式逐渐解体，开始出现全新多元性的视角，这些必然再次反映在绘画创作之中。作为一种视觉语言以记忆的问题和画面的语言观察绘画的双重结构观点，它作为一种理解包含于逐渐变得费解的当代绘画中，却难以被意识到是创作主体之意图的一种方法，继而获得其自身的价值。通过双重结构的观点分析研究者的作品，其结果可以发现作品的画面构成和个人的记忆具有密切的关系，并确认了其作为一种特殊的绘画造型语言而出现的过程。
通过对具体作品的研究，得出的具体结果内容如下。第一，“记忆中存在的风景”记录的是一种寻找身份的思维之旅。记忆中存在的风景不仅仅是视觉性经验，甚至包括日常生活中建立在体验基础之上的联感性感觉在内。第二，“记忆中存在的风景”表现的是具有偶然性、不确定性、模糊性和流动性的视觉对象，因此艺术主体需要选择对象。对于表现对象的选择是通过风景的采集和编辑而完成，它不是将过去的记忆风景原封不动地再现出来，而是以构建成假想的“全新真实存在(simulracre)”为目的。第三，风景创作通过源于照片和电影的灵感而完成。采集和编辑过程中使用到了媒体，它间接地反映了逐渐变为全新媒体性风景的当今时代状况。本研究的意义在于与当代的社会，文化性环境一起发展的美术界的潮流中，通过对绘画作品中所反映的“记忆”的思考，从而提出以个人的主体性时间意识为基础的全新绘画创作方式。
The purpose of this study is to analyze the manners in which the artist’s personalmemories are reflected and expressed. I carried out my study in three steps. Firstly, Iexamined the traditional modes of seeing developed according to the different views ofnature in the East and the West through the survey of the history of art. I studied thetransitions of modes of seeing from ancient times to the present. Secondly, I exploredthe trends and characteristics of current European art, focusing on the background of thereappearance of figurative paintings, modes of artistic development and figuralcharacteristics. And I related these trends to personal memories. Among contemporarywork related to memory, I delved into Peter Doig’s landscapes in particular andexamined his visual expressions. Lastly, I analyzed my own work from the doublestructural perspective of memory and pictorial language, and illustrated thecharacteristics of my work theoretically. The results are as follows. Triple perspectiveand projection, the traditional mode of seeing in paintings in the East and the Westrespectively, are the manners of representing the space shaped by the views of thecosmos and the world in ancient times. In this post-industrial world, the views of theworld and values at present are changing, and the traditional ways of representing spaceare gradually deconstructed and new diversified modes of seeing are born. Thesechanges are reflected in paintings. The double structural perspective, which viewspainting as memory and pictorial language in one visual language, is valuable in waysin which we can understand the creating subject’s intentions that are difficult todecipher in increasingly obscure contemporary paintings. By analyzing my own workfrom the double structural perspective, I showed that the pictorial composition andpersonal memories are closely related, and illustrated the process in which these areexpressed in visual language.
My work is characterized as follows. First,‘Landscape in Memory’ records myinner journey to find self-identity. This work includes not only a visual experience butalso synaesthetic feelings from daily experiences. Second, as ‘Landscape in Memory’represents visual objects that are contingent, uncertain, ambiguous and fluid, thecreating subject has to go through the process of selecting visual objects. The selection process consists of collecting and editing fragmented landscapes and mixedlandscapes. The aim of this process is not representing the landscape in memory as it isbut constructing a virtual new simulracre through the repetitive collecting and editing.Third, the creation of landscape becomes complete through inspirations fromphotographs and movies. I used these media in collecting and editing. It indirectlyreflects the current situation in which landscape is mediated by new media. Inconclusion, this study is significant in suggesting a new painting method through theexamination of thoughts on memory. These thoughts on memory are shown in currentart trends in the diversified social and cultural environment.
通过对具体作品的研究，得出的具体结果内容如下。第一，“记忆中存在的风景”记录的是一种寻找身份的思维之旅。记忆中存在的风景不仅仅是视觉性经验，甚至包括日常生活中建立在体验基础之上的联感性感觉在内。第二，“记忆中存在的风景”表现的是具有偶然性、不确定性、模糊性和流动性的视觉对象，因此艺术主体需要选择对象。对于表现对象的选择是通过风景的采集和编辑而完成，它不是将过去的记忆风景原封不动地再现出来，而是以构建成假想的“全新真实存在(simulracre)”为目的。第三，风景创作通过源于照片和电影的灵感而完成。采集和编辑过程中使用到了媒体，它间接地反映了逐渐变为全新媒体性风景的当今时代状况。本研究的意义在于与当代的社会，文化性环境一起发展的美术界的潮流中，通过对绘画作品中所反映的“记忆”的思考，从而提出以个人的主体性时间意识为基础的全新绘画创作方式。
The purpose of this study is to analyze the manners in which the artist’s personalmemories are reflected and expressed. I carried out my study in three steps. Firstly, Iexamined the traditional modes of seeing developed according to the different views ofnature in the East and the West through the survey of the history of art. I studied thetransitions of modes of seeing from ancient times to the present. Secondly, I exploredthe trends and characteristics of current European art, focusing on the background of thereappearance of figurative paintings, modes of artistic development and figuralcharacteristics. And I related these trends to personal memories. Among contemporarywork related to memory, I delved into Peter Doig’s landscapes in particular andexamined his visual expressions. Lastly, I analyzed my own work from the doublestructural perspective of memory and pictorial language, and illustrated thecharacteristics of my work theoretically. The results are as follows. Triple perspectiveand projection, the traditional mode of seeing in paintings in the East and the Westrespectively, are the manners of representing the space shaped by the views of thecosmos and the world in ancient times. In this post-industrial world, the views of theworld and values at present are changing, and the traditional ways of representing spaceare gradually deconstructed and new diversified modes of seeing are born. Thesechanges are reflected in paintings. The double structural perspective, which viewspainting as memory and pictorial language in one visual language, is valuable in waysin which we can understand the creating subject’s intentions that are difficult todecipher in increasingly obscure contemporary paintings. By analyzing my own workfrom the double structural perspective, I showed that the pictorial composition andpersonal memories are closely related, and illustrated the process in which these areexpressed in visual language.
My work is characterized as follows. First,‘Landscape in Memory’ records myinner journey to find self-identity. This work includes not only a visual experience butalso synaesthetic feelings from daily experiences. Second, as ‘Landscape in Memory’represents visual objects that are contingent, uncertain, ambiguous and fluid, thecreating subject has to go through the process of selecting visual objects. The selection process consists of collecting and editing fragmented landscapes and mixedlandscapes. The aim of this process is not representing the landscape in memory as it isbut constructing a virtual new simulracre through the repetitive collecting and editing.Third, the creation of landscape becomes complete through inspirations fromphotographs and movies. I used these media in collecting and editing. It indirectlyreflects the current situation in which landscape is mediated by new media. Inconclusion, this study is significant in suggesting a new painting method through theexamination of thoughts on memory. These thoughts on memory are shown in currentart trends in the diversified social and cultural environment.
引文
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[6]西格蒙德·弗洛伊德.梦的解析.金敏顺，译.首尔：开书,2004:627.
[7] Ben, Lewis. Indelible paint By announcing the triumph of painting in2005. Prospect,2005,106(1):33.
[8]哈尔·福斯特,罗莎琳德·克劳斯，本杰明·巴克洛等.1900年以后的艺术:现代主义反现代主义和后现代主义.裵寿熙等，译.首尔：分号出版社，2007.
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