“脸”的形态语言及在平面设计中的应用
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摘要
“脸”作为一个视觉语言,是人类始终关注的话题,自然形态中的脸只是作为个体存在的符号,是一种个体标记,人类为了满足宗教、战争和美化身心的种种需要,以符号为手段的脸的艺术造型形式是原始先民对人自身的存在形式不满足而进行的改造,新的形式从此就应运而生了。脸作为一种符号,其最初的呈现状态是以纹样的方式展现出来的。在岩画、青铜器、陶器中都有诸多表现,被赋予了神秘的色彩,是人类实践经验、情感以及文化的交流与发展的延续。从原始社会到现代社会,它承载了不同的思想情感与表达方式,在远古它是图腾,神话的象征或标志,凝聚着一股巨大的原始力量,充满了畏怖、恐惧,体现了一种力量和美,体现了人类对冥冥中未知世界的一种期盼,那种原始的、无法概念化的宗教情感、观念和理想。作为面具的脸的形态语言功能是多样的,在原始社会它承载着宗教意识、巫术意识。现代艺术中,原始艺术中的“脸”是现代艺术家对原始艺术观念的传承与借鉴,造型观念上延续了原始艺术的造型方式和色彩搭配,打破了艺术模仿自然的理念,借鉴了现代艺术中的精神理念,借用一切可以借用的媒介与手段。高更通过自我实现,来个性化他的原始主义,并相信这种迁移,使他自己回归到自己的精神之中。马蒂斯于20世纪初开始注意到非洲艺术的独特的造型方式和大胆的色彩表现。毕加索从非洲艺术中借用了那种相对而言的表面性,但他对非洲艺术的感激不是表面的,是非常深刻的,他的绘画手法与原始主义传统有很重要的联系。其面部刻画线条简练,色彩鲜明,大胆的变形手法与原始艺术中的带有神秘主义的抽象造型有着相同的表现方式,虽然这些表现方式是毕加索通过想象创作的,但这些知觉是在大脑中的记忆储存,在一定时刻的激情绽放。现代技术与电脑的使用使这一造型体系获得了新的视觉感应,后现代艺术的零散化、表面化、以及它的商品复制性和自我大众化,使艺术语言边界模糊。其具体形式主要体现在形式的重复与拼贴、技术的弱化与强化、过程的呈现与经历。脸”的形态语言在今后的艺术发展中会呈现出更为精彩的画面,无论在色彩还是在造型上,都可以给人们以巨大的想象空间与视觉冲击力。
Face, as a kind of visual language, is a topic which people always focus on. Face in the natural shape is only as a symbol of individual existence, an individual sign, needs of satisfying the religion, warfare, beautification of body and mind. The art mold of face which took symbol as a method was a transformation that dated from the unsatisfaction of primitive people towards themselves, because of this, the new form came into being. As a kind of symbol-face, its appearance condition at first was expressed in the form of drawing. It appears on cliff painting, bronze ware, pottery, etc. It was gifted mysterious color, the continuance of human experience, emotion and the exchange and development of civilization. From primitive society to modern society, face bears the weight of different emotion and expression. In remote antiquity face was totem-the symbol of myth. Face condensed a kind of huge primitive power, full of fear and terror, expressed a kind of power and beauty, and expressed a kind of hope towards uncertain world. And face also expressed the primitive and un-definable religion emotion, sense and ideal. As a mask, face which has different functions of form and language. In primitive society, face bear the weight of religion sense and sorcery sense. In modern art, face in primitive art is inheritance and reference of modern artist towards the sense of primitive art. On the sense of mold, face inherits the mold and the collocation of color of primitive art, breaks the sense of imitation which art towards nature, uses for reference of spirit sense of modern art, makes good use of all kinds of media and methods. Gaogeng expressed his primitism in a special way-through the achievement of himself, and believed that it help himself return to his own spirit. Martis realized the special mold and bold expression of color of African art in 20 century. Picasso took the relatively appearance from African art, but towards African art his grateful feeling was not on the surface, it was profound. His technique of drawing had very important relationship with tradition of primitism. Look at his masterpieces, the line in painting is quite simple, the color is so beautiful. And the bold deformation technique is just the same as the mysticism abstract mold in primitive art. Although all these appearance are all created in Picasso’s imagination, the feeling is stored in his brain as visual memory, and will break out in certain time. The new mold system acquires new visual reaction through the usage of modern technology and computer. The scatter of postmodern art, appearance, his reproduction of commodity and self-popularization, all of them make the boundary of artic language become vague. And its specific form mainly expresses the repeat and connection of shape, strengthen and weaken of technique, the appearance and experience of process. The morphology of face will appear a more wonderful picture. On the aspects of color and mold, face will give people huge imaginative space and visual shock.
Face, as a kind of visual language, is a topic which people always focus on. Face in the natural shape is only as a symbol of individual existence, an individual sign, needs of satisfying the religion, warfare, beautification of body and mind. The art mold of face which took symbol as a method was a transformation that dated from the unsatisfaction of primitive people towards themselves, because of this, the new form came into being. As a kind of symbol-face, its appearance condition at first was expressed in the form of drawing. It appears on cliff painting, bronze ware, pottery, etc. It was gifted mysterious color, the continuance of human experience, emotion and the exchange and development of civilization. From primitive society to modern society, face bears the weight of different emotion and expression. In remote antiquity face was totem-the symbol of myth. Face condensed a kind of huge primitive power, full of fear and terror, expressed a kind of power and beauty, and expressed a kind of hope towards uncertain world. And face also expressed the primitive and un-definable religion emotion, sense and ideal. As a mask, face which has different functions of form and language. In primitive society, face bear the weight of religion sense and sorcery sense. In modern art, face in primitive art is inheritance and reference of modern artist towards the sense of primitive art. On the sense of mold, face inherits the mold and the collocation of color of primitive art, breaks the sense of imitation which art towards nature, uses for reference of spirit sense of modern art, makes good use of all kinds of media and methods. Gaogeng expressed his primitism in a special way-through the achievement of himself, and believed that it help himself return to his own spirit. Martis realized the special mold and bold expression of color of African art in 20 century. Picasso took the relatively appearance from African art, but towards African art his grateful feeling was not on the surface, it was profound. His technique of drawing had very important relationship with tradition of primitism. Look at his masterpieces, the line in painting is quite simple, the color is so beautiful. And the bold deformation technique is just the same as the mysticism abstract mold in primitive art. Although all these appearance are all created in Picasso’s imagination, the feeling is stored in his brain as visual memory, and will break out in certain time. The new mold system acquires new visual reaction through the usage of modern technology and computer. The scatter of postmodern art, appearance, his reproduction of commodity and self-popularization, all of them make the boundary of artic language become vague. And its specific form mainly expresses the repeat and connection of shape, strengthen and weaken of technique, the appearance and experience of process. The morphology of face will appear a more wonderful picture. On the aspects of color and mold, face will give people huge imaginative space and visual shock.
引文
[1]唐林涛.装饰[J] 2002.11 9 页
[2](美)布洛克.原始艺术哲学 [M] 上海人民出版社 1991.12 13 页
[3]李砚祖 .装饰之道 [M] 中国人民大学出版社 1993.6 第 8 页
[4]李砚祖.装饰之道 [M] 中国人民大学出版社 1993.6 10 页
[5]李砚祖.装饰之道 [M] 中国人民大学出版社 1993.6 10 页
[6]靳之林.我国民间艺术的造型体系《美术研究》[J]1985.第 3 期
[7]吕品天.中国民间美术观念 [M]4-5 页 江苏美术出版社 1992.6
[8]黄啸 邹建林 肖洁然编译.现代艺术大师学民间[M] 湖南美术出版社 2000.12 第 247 页
[9]过宏雷.装饰 [J] 2002.8 《简约与铺张》66 页
[10] 班石.装饰[J] 2002.8《构成谈》 12 页
[11]童燕康.置换同构及启示 [J]《装饰》2002.9
[2](美)布洛克.原始艺术哲学 [M] 上海人民出版社 1991.12 13 页
[3]李砚祖 .装饰之道 [M] 中国人民大学出版社 1993.6 第 8 页
[4]李砚祖.装饰之道 [M] 中国人民大学出版社 1993.6 10 页
[5]李砚祖.装饰之道 [M] 中国人民大学出版社 1993.6 10 页
[6]靳之林.我国民间艺术的造型体系《美术研究》[J]1985.第 3 期
[7]吕品天.中国民间美术观念 [M]4-5 页 江苏美术出版社 1992.6
[8]黄啸 邹建林 肖洁然编译.现代艺术大师学民间[M] 湖南美术出版社 2000.12 第 247 页
[9]过宏雷.装饰 [J] 2002.8 《简约与铺张》66 页
[10] 班石.装饰[J] 2002.8《构成谈》 12 页
[11]童燕康.置换同构及启示 [J]《装饰》2002.9