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|Authors: ||王潔;Jie Wang|
|Issue Date: ||2009-09-22 09:33:38 (UTC+8)|
|Abstract: ||比利時畫家馬格利特（René Magritte,1898-1967）是位超現實主義藝術家， 我們認為他的超現實風格來自於他對「現實」的體悟與思考。這些思考可以從 他的「文字畫」作品中看出端倪，1927 年至1930 年的「文字畫」作品，正是 馬格利特對於「現實」以及「代表現實之符號」之關係的探究與實驗，這個階 段也是他奠定個人風格的重要時期，解析這批文字畫，有助於我們認識馬格利 特超現實風格的特色，尤其是他對「現實」的思考。因此，本論文選定「馬格 利特的文字畫」作為研究主題。 目前學界對馬格利特「文字畫」的研究，正方興未艾，並無定論，我們試 圖將有關馬格利特文字畫的相關問題並列在一起來思考，並提出「辯證性結構」 （dialectic structure）這一觀點，作為理解馬格利特超現實風格的入口。本論文 主要的內容包含「馬格利特文字畫的起源」、「馬格利特文字畫的解讀」以及「馬 格利特文字畫與非文字畫之間的關係」。這三個主題環環相扣，它們都與「辯證 性結構」此一特徵有關。 1927 年以前，馬格利特就對繪畫之「標題文字」與「圖像」之間、「繪畫 空間」與「真實空間」之間的辯證感興趣。1927 年在巴黎，文字正式走入他的 畫中，他開始有系統地研究「現實」與「代表現實的兩種符號（文字與圖像）」 之間的關係。他的文字畫具有共同的形式，亦即本論文提出的「辯證性結構」 這一特徵。而有關「辯證性結構」的分析，便是本論文的核心內容。1930 年， 當馬格利特離開巴黎並終止文字畫系列實驗時，文字畫中普遍存在的「辯證性 結構」卻並未消失，經過轉換，「辯證性結構」仍保留在他的非文字畫作品中， 成為他個人超現實風格的一大特色。 本論文以「文字畫」出發，「非文字畫」終結，貫穿其間的，則是「辯證性 結構」。文末，我們將從「辯證性結構」這一特徵歸結馬格利特超現實風格的獨 特性：應用「辯證性結構」，馬格利特揭露了現實界的神祕與詩意；「辯證性結 構」讓馬格利特的圖畫中同時保有傳統與創新；而「辯證性結構」的基礎在於 馬格利特對「符號之多義性」的應用與開拓，利用「符號之多義性」，馬格利特 讓符號「自我辯證」，「符號之自我辯證」，便是馬格利特的圖畫顯得幽默、諷刺 並能引發觀者多元聯想與詮釋的重要原因。 René Magritte（1898-1967）, the Belgian artist , is known as a surrealist. His surrealistic style, as will become evident in this thesis, derives precisely from his conception and reflection of "the real". To outline Magritte's thinking of the real, his "word paintings"（1927-1930）can be useful information. These "word paintings" are visible results of his study and experiment on the relationship between "the real" and "the signs representing the real." Besides, the "word painting" stage is an important period for Magritte to develop his personal style. Consequently, analyzing and interpreting Magritte's "word painting" is contributive to the recognition of the characteristics of his surrealistic style. I therefor choose "Magritte's word paintings" as the subject of this thesis. Studies about "Magritte's word paintings" are still growing in the academic circle and there are few accepted opinions about these works. In this thesis, I try to approach them in different ways. By juxtaposing and considering simultaneously the questions relevant to "Magritte's word paintings", I will introduce a new perspective for understanding Magritte’s surrealistic style : "the dialectic structure." The questions discussed here include "how and why Magritte's word paintings appear" , "the interpretation of Magritte's word paintings" , and "the relationship between Magritte's word paintings and his non-word paintings". These three questions are relevant to one another, and they all involve the character of "the dialectic structure." Before 1927, Magritte has been interested in the relationship between "the titles and the images" as well as the relationship between "the illusionistic spaces and the real spaces". In Paris, 1927, words begin entering into his paintings. From then on, he starts to study systematically the relationship between "the real" and "the signs representing the real". These "word paintings" possess a common form, which can be regarded as "the universal character of Magritte's word paintings," i.e., "the dialectic structure." When Magritte stops the regular word painting experiments and leaves Paris in 1930, "the dialectic structure" can still be found, though has been transformed, in his paintings. "The dialectic structure" has become a noticeable characteristic of his personal surrealistic styles. In this thesis, beginning with "word paintings" and terminating with "non-word paintings", "the dialectic structure" behaves as the axial threads running through the whole chapters. Finally, I will summarize the uniqueness of Magritte's surrealistic style as follow：the application of "the dialectic structure" enables him to reveal "le mystère" and "la poésie" of the real. It also enables the coexistence of the elements of "tradition" and "innovation" in his paintings. "The dialectic structure" bases on Magritte's employment and development of "the polysemy and ambiguity of the signs". Due to "the polysemy and ambiguity", the signs in Magritte's paintings can be self-dialectic. The "self-dialectic sign" is a main factor that helps to form a humourous and ironic atmosphere in his paintings, as well as attracts the spectators to produce diverse imaginations and interpretations of his paintings.|
|Appears in Collections:||[藝術學研究所 ] 博碩士論文|
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