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The social function and political nature of painting

2019-10-30 来源: 51Due教员组 类别: 更多范文

下面为大家整理一篇优秀的assignment代写范文- The social function and political nature of painting,供大家参考学习,这篇论文讨论了绘画的社会性功能与政治性。绘画行为不可避免地来自社会,而后回归社会,现在的绘画创作需要辩证地融入政治色彩。绘画作品具有政治功能,具备政治色彩,不能刻意回避其政治属性,同时也应避免为政治而政治。

Paintings can be influenced directly or indirectly by their contents, themes or values as commodities, or even by the artists' painting behaviors and their status. Based on its convenient dissemination and easy to accept characteristics, painting has an important function that is difficult to replace.

The behavior of painting has a long history. Although the functional scope of painting has been reduced to some extent after the formation and popularization of writing, its influence still covers all fields. Every painting that appears in our lives has a corresponding social function or emotional connotation.

Paintings have always been an important tool for rulers or leaders to educate the lower classes.

French painter davit also put forward the concept that "art must help the happiness and education of all the people". On the eve of the revolution, the painter created the famous oath of the Horace brothers in order to promote the spirit of heroism and fortitude, and advocate that personal feelings must be subordinated to the interests of the state. In modern times, the weeping women in the story are more likely to feel the cruelty of the war -- whether the war is won or lost, they will lose their loved ones. But the author just USES the sad female image to highlight the spirit of the three brothers, that is, to sacrifice individual happiness for the revolution without fear. It is through exquisite skills, rigorous composition and simple style that the artist shows this tragic and heroic spirit of sacrifice with a heroic and vigorous tone, inspiring the determination of the people to continue to fight.

Since the appearance of words, human beings no longer rely on pictures to record and tell events, but the expressive ability of painting itself has never been lost, and under certain conditions, it can even be done better.

Compared with abstract words, visual images can enable more people to have "empathetic" experience, which is more likely to arouse public emotions. "The raft of medusa" is a work of great power to shock the world. It was created in 1819 by the famous French painter teodoro cilique. The overall tone is grey, and the composition of two superimposed triangles is more indicative of "unease". Frame in cloudy weather in the sea, there is a beyond bearing the raft of sheet forming the sails by sea breeze blowing, waves make the bamboo raft, the front of the struggle on the edge of the roar of the crowd, the old man look in the eyes of despair and surrounding around the body as if formed a sharp contrast, the living of suffering and sorrow, haunting around death and fear is show incisively and vividly. This cruel realm, which cannot be reversed or redeemed, connects the context of the picture and resonates with the viewers. The image is real and has the beauty of shocking tragedy.

Based on the characteristics of the painting itself, it does not record the "truth" rationally and accurately like the photographic works. Because of the "consciousness", the image becomes not the existence of the scene of the event, but the change of the need of the society. Its "record" behavior, from objective to subjective, from existence to narrative. In the picture, by deliberately highlighting and hiding, or consciously reducing or adding elements, or even creating a "real" picture based on subjective consciousness. Delacroix's masterpiece "liberty leads the people" is a masterpiece in this respect.

This classic oil painting was printed on French stamps and COINS. The author took three colors of the French national flag as the theme colors of the painting. It mainly reflected the desire of the people to rebuild their national self-esteem, and combined with romanticism to combine reality with subjective imagination. The subject matter of the painting also comes from the fact that during the French revolution of July, Charles x wanted to strengthen the restrictions on the people and dissolved the parliament, which caused the people to protest and fight. The painter witnessed the revolutionary war and created this painting. Delacroix USES his rich imagination to grasp the essence of the spiritual characteristics of things, and to portray the characters boldly. Although the procession of figures in the painting is not particularly large, the woman in the middle of the painting is holding a gun in one hand and a tricolor national flag in the other in the smoke of war. The pale yellow dress and semi-naked body are like the symbol of freedom. This kind of half-human and half-divine metaphor seems to indicate that the French people are marching bravely for freedom. She followed the charge of apprentices, workers, farmers, small aristocrats and other vivid image characteristics of the crowd, and the bodies on the ground is the revolution in miniature of each group. At the same time, the overlapping and upward composition form, subjective and objective combination of the picture with a sense of grandeur. Without a clear outline, the painting with a hazy sense of rendering the atmosphere of the picture, enhance the sense of hierarchy of the picture, laid a passionate and warm tone, all excited the spirit of the revolutionaries.

Chinese artists Chen yifei and wei jingshan created "occupy the presidential palace" is a political work influenced by the teaching of the su school. The painting, a three-dimensional triangular structure, shows the raising of the national flag after the people's liberation army captured the nanjing government. The author makes up a passionate occupation scene that is more monumental than the cold "truth" of history.

Painting does not exist completely independent of social factors. Although it has its own evolution process, it is still affected by the rise and fall of other things in different stages and cannot stay outside the general objective development law. The ideology of the ruling class and the value orientation of the mainstream group under the background of The Times have an important impact on people's cognitive system and the development of literary and artistic works. This was especially evident in the era of highly centralized rule, just as the flourishing of palace paintings in the song dynasty was largely related to the promotion of rulers. By the emperor himself to lead the aesthetic taste of ink, through the "academy of calligraphy and painting" to cultivate and education art talent, advocate "painting", promote the literature works as the creation of the subject matter of the painting, strengthen the artist with the picture of the deep content of the trend, praise highly the use of metaphor, symbolic technique but not directly express taste. To some extent, this contributed to the prosperity of literati paintings.

Stepping song picture, the representative work of southern song dynasty painter ma yuan, is exactly the best combination of picture expression and individual proposition. It seems to depict landscape, but actually it is closer to genre painting. In the near view of the painting, it is the happy scene of farmers' "stepping into song" in the suburb of linan, the capital of the southern song dynasty. In the middle of the painting is a towering rock, palace is looming in the trees, it is the symbol of the royal family. People are happy because of the abundance, and abundance is because the emperor governance youdao. Combined with the inscription poem of zhao quanguo of song ningzong, this painting can naturally be regarded as ma yuan's political propaganda painting to praise "nianfeng people's happiness, politics and people's peace". Combined with the historical situation of the royal family in the southern song dynasty at that time, it can be seen that the current situation and the policy ideas of the upper class were evident.

The rise and fall of the painting industry is closely related to its social and political environment. The flourishing of palace painting in song dynasty could not be separated from the preference of the emperor himself, and the leapfrog development of painting in the western Renaissance also relied to a great extent on the liberation of behavior and ideas brought by the promotion of the status of the bourgeois group. At the same time, political life also provides a lot of materials for painting, which greatly complements the connotation of painting works. For example, if the works such as han xizai's banquet pictures and the gleaner are completely stripped of their political orientation, they will inevitably lose a lot of color. It can even be said that if there is no political behavior as a prefix, it is not known whether they will appear.

Excessive political color will inevitably damage the artistic value of painting. A painting is a concrete manifestation of the human mind and the conclusion drawn from the moral reflection of the society in which it lives. Painting and politics have become inextricably linked since the skill of painting was linked to one's social status. Rulers to train or to harness a large amount of "imperial" hand painting, using their work guiding idea, as a tool to consolidate its rule, part of the learning, teacher will also be painting as its pursuit of fame fortune stepping stone, the possibility of this kind of phenomenon greatly limit the development of painting, the loss of the works of true feelings and independent cognitive also lost its value.

Engels said, "principle is not the starting point of research, but the final result." The final result of painting behavior is the realization of the work and the author's self-worth. Therefore, the painting creation has its independence, also will not be completely "no cannibalism fireworks". Blindly go along with politics, lose its thought and aesthetic feeling, it is a great obstacle to the development of painting. While completely depoliticizing, it is also unrealistic. The raw material of artistic creation is life, and the finished product is also life, so it is difficult for a painting without social attributes to have the temperature of humanity after all.

Through the study of the social function and political influence of painting, we can find that the painting behavior inevitably comes from the society and then returns to the society. We should also dialectically integrate political color into the painting creation. Paintings have political functions and colors. They should not be avoided for political reasons.

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