English  |  正體中文  |  简体中文  |  Items with full text/Total items : 6491/11663
Visitors : 23774779      Online Users : 171
RC Version 3.2 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Adv. Search

Please use this identifier to cite or link to this item: http://ir.ncue.edu.tw/ir/handle/987654321/19221

Title: 若「影」若現之舞孃 — Jeff Wall《搗毀之室》之藝術史策略
Shadow-liked Showgirl: The Art Historical Strategies in ";Destroyed Room";by Jeff Wall
Authors: 戴麗卿
Contributors: 美術學系
Keywords: 藝術史方法論;Jeff Wall;藝術史策略;虛構;照像術;裝置手法;構圖;光影;Memento mori;Vanitas;死之舞;「事件風景」;攝影藝術
Methodology of studies in Art History;Jeff wall;The Art Historical Strategies fiction;Photographic skill;Installation procedure;Composition;Shadow and light Memento mori;Vanitas;Dance of death;";Event landscape";;Photography art
Date: 2001-12
Issue Date: 2014-12-08T04:27:16Z
Publisher: 臺北藝術大學
Abstract: 西方藝術史學由最早於16世紀以藝術家的傳記寫作為主的研究發展,歷經18世紀以藝術學者的活動為主,以及19世紀為共同學科的鋪路至20世紀末百家爭嗚的激烈盛況;其中扮演著舉足輕重的角色之一的圖像學(Iconography, Ikonographie)研究,即是與純視覺分析以形式為主研究的另一支相抗衡的力量。本文即試圖以圖像、圖意學(Iconology, Ikonologie)方法,來解讀西方當代藝術家Jeff Wall (1946-)的一幅名為「搗毀之室」(Destroyed Room)的作品,探究其圖像索隱含的象徵與意義,並追溯其前圖像與典型史,試圖以「圖像傳統」此一中心面命題來挖掘觀看藝術作品時的個中興味,證明這幅《搗毀之室》的事件風景所散發的圖像象徵意義與隱喻表徵的熟稔度,以及其以靜態多義性的手法詮釋現代人性暴力;在藝術家自導的畫面場域,巧妙地運用攝影與繪畫之間的共通性,更進一步使攝影傳承「圖像語言」的古典特性,使之處處暗藏玄機,開啟其開發內在創造層面的可能性。本文更嘗試將之建立於藝術史接受美學論(Kunstgeschichtliche Rezeptionsästhetik),針對作品、藝術家、與觀者之間的微妙互動進行討論,運用抽絲剝繭的方式回顧、比較、闡釋一連串與影子題材相關之圖像傳統的構成與意義,並涉及與其相關的死亡文化史,以及藝術史層面的演變過程,企求視界的多元與宏觀。
The developing of western art history has progressed from the artists' biographies in the 16(superscript th) century, to the activities of art historians in the 18(superscript th) century, then the basis of the common subjects in the 19(superscript th) century, and finally to wide variety of methodologies in the 20(superscript th) century.. One of these important methodologies, Iconology, is just the opposite from the mere visual analyses with forms. This article is trying to approach one of the works, "Destroyed Room" a creation of western contemporary artist Jeff Wall (1946- ), with Iconography (Ikonographie) and Iconology (Ikonologie), and discuss the symbols and meanings in it, while, tracing the origin of its pre-images and its history of pattern with the view of the "pictorial tradition". This reflects the artist's familiarity with the symbols and metaphors in this event landscape, "Destroyed Room", as well as his skill in producing a still-life with multi-violent meanings to interpret the fury of modern human nature. Within the self-directed realm of the picture frame, the artist skillfully employs the interactions between photography and painting, to make the photo convey the classic features of "pictorial language", empowering it to embody all kinds of marvelous possibilities, and releasing its inner potential to create. In order to have a broader sight when viewing art, the article also tries to approach it with art historical reception esthetics, (Kunstgeschichtliche Rezeptions�sthetik) focusing on the interactions among the work, the artist, and the viewer, to look back, compare, interpret the constructions and meanings of a series of the images related to the shadows, and the cultural history of death and its developing in art history.
Relation: 藝術評論, 12: 241-276
Appears in Collections:[美術學系] 期刊論文

Files in This Item:

File SizeFormat

All items in NCUEIR are protected by copyright, with all rights reserved.


DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback