(I) Teaching Objectives
Theoretically, once any work of art is produced, it no longer belongs to the artist but to the whole society or the audience, so that different works of art will have different meanings and values in the eyes of different societies and audiences. We have already talked about the importance of understanding the artist's intention in the previous lesson, and this lesson is to show that the artist's intention is only one aspect of our understanding of a work of art, not the only one, or it can provide some kind of reference for us to understand the work of art, and the work of art still needs us, the viewers, to give us our own interpretations. Therefore, the aim of this lesson is to make students realize that the meaning and value of a work of art has both absolute and relative aspects. Active participation is a prerequisite and a guarantee for art appreciation, and only in this way can we improve our ability to appreciate art and develop an eye for aesthetics.
(II) Content Structure
This lesson consists of four main parts.
The first part begins with the story of ancient Chinese painters Ma Yuan and Xia Gui. As an introduction, this part points out their contributions to the history of Chinese art, but the Ming emperors gave different interpretations, thus demonstrating that art appreciation involves not only an understanding of the artist's intentions, but also a question of the viewer's judgment of their significance and value.
The second part, "The Period and Region of Art Works", is about the relationship between the meaning and value of an art work and the era and region in which it was created, i.e., its creation was limited by the era and region at that time, and its understanding was closely related to its era and region. The main example here is Luo Zhongli's Father. This can be understood in the context of the artist's creative intent as described in the previous lesson.
Part III "How to Judge the Meaning and Value of Works of Art?" Taking the three "David" created by three sculptors at different times in Western history as an example, it further illustrates the relationship between the significance and value of works of art and the times and regions, thus pointing out that the significance and value of works of art have an absolute as well as a relative side. The issue of artistic innovation is also raised here, mainly from the aspect of understanding the completeness of the meaning and value of works of art, which is more complex, so it is not expanded, only as a reference in teaching.
The fourth part of the "how to see the meaning of works of art and value of the judgment of the differences?" is a question that follows on from what was said above about the relative aspects of the meaning and value of works of art. This part emphasizes the importance of personal feelings and judgments, and gives different perspectives and methods for judging the meaning and value of works of art. These perspectives and methods show us that the meaning and value of art works are not static, but can have various levels of understanding, each of which is part of the meaning and value of art works, and this explanation has positive implications for students' engagement in the initiative of art appreciation. However, it also points out that despite these different perspectives and approaches, the work of art itself remains the basis for our judgments of meaning and value.
(3) Key Points and Difficulties of Teaching
The key points of this lesson are twofold: 1. to make students understand that the meaning and value of works of art are closely related to their times and places, that is to say, both the formation of such meanings and values as well as the ability and scope of the works of art in producing meanings and values are limited by the times and places in which they are located; 2. to make students understand that the judgment of the meaning and value of works of art is not limited by their times and places; 2. to make students understand that the judgment of the meaning and value of works of art is not limited to their times and places. meaning and value of works of art can be judged from different perspectives, i.e., the meaning and value of works of art can be viewed and understood from different perspectives.
The difficulty of this lesson is that the meaning and value of works of art have both their absolute and relative aspects, to accurately judge the meaning and value of a work of art involves a variety of factors, and it is not easy to accurately grasp the relationship between them in teaching, which is a need to pay attention to in teaching. In addition, judging the meaning and value of works of art from a variety of perspectives and easy to make students have the illusion that works of art can be understood arbitrarily, which is wrong, teachers need to pay attention to correct in teaching.
Two, teaching content information
(A) Works Analysis
Xiaoxue Mountain Walking (Chinese painting) Ma Yuan (Song)
Ma Yuan's ancestry is Hezhong (now Yongji County, Shanxi Province), born in Hangzhou, the word Yaofu, the name of the Qinshan. He was born into a family of painters, by the time he was in his fourth generation. He served as a god of the Painting Academy in the dynasties of Guangzong, Ningzong and Lizong, and was also an imperial official. Like his ancestors, Ma Yuan was an accomplished painter of landscapes, figures, birds and flowers, and miscellaneous paintings, and was a unique painter in the painting world. The most accomplished and influential of his paintings were his landscape paintings, known as "Ma Yijiao" because his compositions often placed the actual scene in a corner of the picture. However, in addition to close-ups of a corner, he also had panoramic landscapes, and also gave full play to his all-round talent, with his works sometimes combining flowers, birds and landscapes, sometimes combining figures and landscapes, sometimes combining figures, flowers, birds and landscapes, which were extremely rich and varied.
Fisherman's Flute (Chinese Painting) Xia Gui (Song Dynasty)
The history of painting has always been "Ma Xia", because their painting styles are indeed very similar. The difference lies in the fact that Ma Yuan is more reserved, while Xia Gui is more spontaneous; Ma Yuan paints more tightly, while Xia Gui paints more loosely; in addition, Xia Gui's ink use is more vigorous.
Xia Gui, slightly later than Ma Yuan, was a native of Qiantang, and was an imperial inspector of the Academy of Painting during the reigns of Emperor Ningzong and Emperor Lizong. Although he was late in his career, his reputation was not low, and among the ten members of the Imperial Academy of Painting, Xia Gui was one of them, enjoying the same treatment as his predecessors, such as Su Hanchen, Lin Chun, Li Di, Ma Yuan, and so on. In his early years, his landscapes showed more traces of Li Tang, and after middle age, he gradually developed his own style. In terms of layout, he loved to concentrate the scenery on one side, or the lower half, or the left and right sides, to express the misty spatial interest, known as "summer half side". In his later years, his style became more concise and bold. As pointed out by Dong Qichang, Xia Gui also absorbed the ink method of the Mi family's landscapes, and he loved to use splashing ink and wetting, and then dabbing and coloring with a bald brush and burnt ink. The brushwork is flexible and varied, point, short lines, small axe chops, large axe chops used in conjunction with each other, so that the intensity of the faint, cloudy and faint.
Father (oil on canvas, 240cm×160cm, 1980, collection of National Art Museum of China) Luo Zhongli
Luo Zhongli (1948- ), a native of Pishan County, Sichuan Province, was admitted to the secondary school of Sichuan Academy of Fine Arts in 1964, and after graduation, he lived in the Daba Mountains of Sichuan Province for 10 years.1978, he was admitted to the Sichuan Academy of Fine Arts and created the oil painting "Father" during his study. He created the oil painting "Father". Based on his feelings of laboring and living in the mountainous areas of Sichuan for many years, he drew on the photorealism of Western modernist art, and used the form of a giant leader's statue to portray the image of a hard-working, simple, kind and poor old farmer. His bronze-colored face, the rut-like wrinkles caused by the long hard years, the rake-like hands, and the mouth with missing teeth all contain the painter's deep emotion and deep reflection on the reality that caused this to inspire people to the reality, especially the fate of the majority of the peasants' deep concern. Because of this, this work was exhibited in public, immediately aroused a strong reaction from the community, is one of the most influential works of art since the founding of new China.
The Last Supper (oil on canvas, 365 centimeters by 568 centimeters, 1592-1594, San Giorgio Maggiore Chapel, Venice). Maggiore Chapel Collection) Tintoretto (Italy)
Tintoretto (1518-1594) is regarded as a stylistic painter of the Late Renaissance. Tintoretto" was not his real name, but he was nicknamed "Tintoretto" (meaning dyer) because he came from a family of dyers. He was an ambitious man who threatened to become the greatest master of art by combining the colors of Titian with the forms of Michelangelo. In order to achieve unique artistic effects, he always chose angles and compositions seldom adopted by others in his creations, pursued grandeur, strong drama and prominent sense of light, neglected the portrayal of the inner temperament and character of the characters, and mainly started from the effect of the picture.
The Last Supper, a traditional biblical subject, has been painted by many artists at different times, and Tintoretto himself has painted as many as seven or eight. An early Tintoretto painting, The Last Supper, was painted in 1547 and is now housed in the Chapel of Santa Marcuola in Venice. But the three completed between 1565 and 1594 are the most famous (the first in the church of San Trovazzo, the second in the Guild of St. Rocco, and the third, this one). In terms of the uniqueness of its conception, this painting is bolder than all the others. Here, although the human body is still moving in an inverted spiral, and the picture is as strongly mythological as ever, the relationship between Jesus and the 12 disciples is extremely rhythmic. The diagonal line composition with a sense of movement and the strong contrast between light and dark give a strong visual and psychological impression. The 12 figures on the table are disturbed by Jesus' words - "One of you will betray me" - and the dynamic of different expressions, coupled with the upper left corner of the kind of fantastical sky light and cloudy light source, make this scene has a kind of mythical stage effect.
The painter's ingenuity to this "Last Supper", set into a perspective vertical angle, the viewer seems to stand in the doorway or on the side of the scene from a high place to watch, all the characters of the action are grouped, busy, rich narrative. According to the Italian art historian Vasari, who commented on Tintoretto's paintings, "He did not just work fast, but his work left a residue of rough brushstrokes that made it impossible to tell if his paintings were finished." This is by no means to say that there is much technical roughness in his paintings, but rather it is the result of his use of brushstrokes to trace the sense of light and movement. He favored the use of warm tones, except that he did not strive for gaudiness in his warm colors; the light and darkness in the warm colors were meant to enhance the psychological elements of the figures. This style of painting was later appreciated by the French Impressionists of the 19th century, who copied his paintings to assimilate this expressive effect of light and shadow.
The Last Supper (Fresco, 484 cm × 880 cm, 1495-1497, Santa Maria delle Grazie, Milan). Della Grazia Monastery, Milan) Da? Leonardo da Vinci (Italy)
Leonardo da Vinci (Italy) Leonardo da Vinci (Italy) Leonardo da Vinci (1452-1519) was one of the most outstanding Italian painters, scientists and inventors of the Renaissance. He completed few paintings in his lifetime, but almost all of them are monumental. His works from the beginning to the end of a distinctive personal style, and good at making artistic creation and scientific exploration combined, deep, subtle, rich in reason. In his later years, he devoted himself to scientific research, and after his death, he left behind a large number of notes, manuscripts and sketches, ranging from physics, mathematics to physiological anatomy, almost everything. His technical inventions also covered civil, military, engineering and mechanical aspects. Thus Engels praised him as "not only a great painter, but also a great mathematician, mechanic and engineer, who made important discoveries in all the different branches of physics."
The fresco "The Last Supper" was painted by Da? Vinci's work for the Santa Maria delle Grazie in Milan. Della Grazia Monastery dining room. It is not a normal wet fresco with a gray surface, but has been mixed with some oils, which is why some art history books do not call it a fresco, but label it as "oil tempera paint". Because this is an immature new attempt, so the original painting in the 16th century has been gradually faded mold, coupled with the descendants of poor preservation, is now very vague. Attempts are being made to restore it with modern technology, but progress is slow.
The Last Supper is based on the Christian biblical legend of Jesus' betrayal by Judas, one of his 12 disciples. It is named for the last supper Jesus had with his saints*** before his arrest in Jerusalem. Religious paintings of this type were created from the Middle Ages to the Renaissance, and formed a set of programmed expressions. Leonardo da Vinci's work is based on the theme of the Last Supper. This work of Leonardo da Vinci with its unique craftsmanship, excellent composition, deep psychological depiction of the characters and become an immortal masterpiece. Leonardo da Vinci Finch in this work, firmly grasp Jesus in the 12 disciples *** dinner, suddenly said "one of you will betray me", the disciples suddenly showed a variety of different demeanor of this very expressive moment, focusing on the inner world of the characters, expressing the painter on the good and the evil, the beauty and the ugliness, the noble and despicable, the distinct love and hate. It expresses the artist's love and hatred for good and evil, beauty and ugliness, the sublime and the despicable, and the subtle psychological portrayal of the characters reaches an unprecedented height. The composition of the whole painting is perfect: the horizontal frame is strictly symmetrical, with Jesus at the center, and the twelve disciples are richly and uniformly connected with each other in a variety of different postures. In addition, the treatment of the space and the background of the picture is characterized by the use of perspective to create a profound space. All of this makes this work a world-famous masterpiece.
David (bronze sculpture, 126 cm high, 1443-1444, in the collection of the National Museum of Fine Arts, Florence) Donatello (Italy)
Donatello (1386-1466) was one of the most outstanding sculptors of Italy at the beginning of the Renaissance, and one of the most important pioneers of the realist art. one of the most important pioneers of realist art. David is his most important work and the first fully nude sculpture of the human body in the Renaissance. It marks the restoration of the Greek and Roman tradition of human art. The image of David from the Biblical legend was a frequent subject for European Renaissance artists. Legend has it that David, the ancient king of the Jews, was famous for slaying the giant Goliath as a boy by flinging a stone at him. Donatello's "David" is exactly the expression of the teenage David killed the man, with his feet on the Goliath's head, exuding the joy of victory and pride of the scene. David's image, not only the human body proportion is accurate, but also beautiful, smooth lines, showing Donatello molding the human body a high degree of skill.
David (sculpture, height 250 cm, 1501-1504, collection of the Academy of Fine Arts, Florence) Michelangelo (Italy)
Michelangelo is the second most famous artist in the literary and artistic world after Leonardo da? After Leonardo da Vinci, Michelangelo was a great master of the Renaissance. As a young boy, he entered the famous "Medici Gardens", where he received artistic training and came into contact with a large number of ancient art treasures collected there. He was not as scientific and philosophical as Leonardo da Vinci. He was not as full of scientific spirit and philosophical thinking as Leonardo da Vinci, but persistently pursued the embodiment of the human spirit and human strength in art. His art style is grandiose and emotionally intense, with a strong tragic color.
Michelangelo's "David" is a magnificent young Goliath, he stood there calmly, his left hand gripping the stone-thrower on the shoulder, his head raised, staring vigilantly at the enemy, his eyebrows full of confidence in victory. The sculptor's almost static pose powerfully conveys the heightened tension before battle and the immense power stored within David's body.
David (Sculpture, 1623-1624) Benigni (Italy)
Born in Naples, Benigni (1598-1680) was a great sculptor and architect, and the most famous Italian Baroque artist of the 17th century. Intelligent and dexterous from an early age, Bernini began sculpting works at the age of eight, demonstrating his talent and earning a reputation at an early age. Marble seemed to become as soft and moldable as clay under his chisel. His sculptures are passionate and action-packed, with a whirlwind of power, very athletic and dramatic.
Benigni's David, a David in the midst of a grueling struggle, seems more true to life. His David is more of a fighter in adversity and perseverance. In this state, the artist was able to express the whirlwind movement of the human body and the character's stirring emotions. And the sense of movement is a central theme of Baroque art.
The Tough Years (sculpture, height 100 cm, 1957, collection of the Military Museum of the Chinese Revolution) Pan He
Pan He (1925- ) is a native of Guangzhou, where he is a professor in the sculpture department of the Guangzhou Academy of Fine Arts. A professor in the Sculpture Department of the Guangzhou Academy of Fine Arts, he began his artistic activities in 1940 and created his masterpiece Hard Times for the Chinese Revolutionary Military Museum in 1957. In this work, Pan He realistically reproduces the image and spirit of the Red Army in the "hard years" of the Long March: tattered caps, ragged military clothes, bare feet, thick bones left by the hard life, such as a steel rod on the fingers of an antique-colored flute, cracked lips gently pressed against the flute holes, and happily playing the melodious music; the rough skin on his face is soothing, and he is very happy to see that he is not a soldier, but a soldier. Music; the face of the rough skin stretch out, the corners of the mouth with a heartfelt smile, such as ravine on the forehead of the deep grooves stored in the hard years of suffering - this is Pan He's sculpture "hard times" in the image of the old warrior. And a young Red Army soldier with a childish face is huddled beside him, holding his spear in one hand and resting his chin in the other, listening to the beautiful flute, smiling and looking upward with reverie, banished to the infinite sky, longing for the ideal of the future. This image has transcended individuality and has become a spiritual symbol of an era.
The Boy Playing the Flute (Oil on Canvas, 161cm x 97cm, 1866, Collection of the Musée des Impressionistes, Paris) Manet (France)
Manet (1832-1883) was born in Paris to a big bourgeois family. His father was a judge and therefore well educated. He regarded himself highly, disliked all conservative and backward things, and pursued progress and revolution. However, Manet did not have the same revolutionary spirit as Courbet, but still had some reservations, which was also reflected in his later art. He did not start out in the arts; his parents initially wanted him to study law or enter the naval academy, but he failed both tests and became a trainee sailor on a ship. On a sailing trip to Brazil, he was captivated by the beauty of nature, and on his return home he persuaded his parents to enroll him as a student in the studio of the classical painter Cuypers in 1850. By the time he left the studio in 1856, he was already a painter with a solid tradition, as shown in The Guitar Player and Portrait of Mr. and Mrs. Manet, both of which were first exhibited at the Salon in 1861. But Manet was more interested in the work of contemporary painters, especially the bold verisimilitude of Courbet's work and the effects of exterior light of the Barbizon painters, and he also painted his first outdoor painting, The Garden Concert in the Retreat at the Palais de Léry, on a whim. However, in addition to considering light as the Impressionists did, Manet paid more attention to the internal structure of the painting in combination with color, and his research in this area only became important after Gauguin and especially Cézanne.
Manet's paintings were a prelude to the future with their freedom of approach and the place they gave to color. He had a strong interest in the Japanese ukiyo-e art form, and was also very fond of the generalization of color and flatness of image in Chinese and Japanese prints, and looked for contrasting colors in his works. An example of this is The Boy Playing the Flute. It is a painting without shadows, three-dimensional representation or depth, and the figure still has a sense of three-dimensionality due to the foreshortening effect created by the contours. Manet has abandoned the method of translating flatness into pictorial space that has been used since Giotto, and the gray of the background is as solid as the figure, as if if if the figure stepped out of the picture, the background would appear to have a hole similar to the one worn in the stencil. In order to strengthen the flatness of the picture, it doesn't seem to matter on which horizon the figure is, it's fine to say he's floating in the air, the purpose is all about the sharp impression of the flatness of this image.
Piper Girl (Sculpture, 1904) Bourdelle (France)
Bourdelle (also known as Bourdelle, 1861-1944) was Rodin's student, but also an inheritance of Rodin's spirit of creativity, sculpture and further expansion of the art of art and lead to modern art artists. He inherited the tradition of classical sculpture, but also sought to play the strengths of the sculptural language, get rid of Rodin's excessive focus on the characteristics of literature, and seek new means of expression. Budaier's works are full of power, sculpture language is subtle, deep. If Rodin ended a focus on realism and psychological portrayal of the sculpture of the era, then Budaier is the beginning of an emphasis on the sculpture of the spatial expressiveness and sense of strength of the era. His majestic, generalized sculpture created a generation of new style.
Luoshen Fu Scroll (Color on Silk, 27.1 cm x 572.8 cm, Collection of the Palace Museum, Beijing) Gu Kaizhi (Eastern Jin Dynasty)
This scroll is based on Cao Zhi's (192-232) famous Luoshen Fu from the Three Kingdoms period, and it fully expresses the content of the Fu with concrete and vivid images, which also reflects the new emphasis on emotional life in the literary theory of the historical period. It also reflects the requirement of emphasizing emotional life in the emerging theory of literature and art in this historical period.
The author depicts the content of the story section by section, starting with Cao Zhi gazing at the waterfront of Luo River with his entourage, as if seeing the goddess of the Luo River (also known as Zhen's wife) floating in her immortal dress, coming over the waves. Later, they exchange gifts, and the goddess and her companions play freely in the air or on the water. At this time, the God of Wind stops the wind, the God of River calms the waves, the God of Water beats a drum, and the God of Creation, Nuwa, sings, while Cao Zhi and the God of Luo take a trip in a six-dragon "cloud chariot" to talk about their love for each other. At the end of the journey, Cao Zhi was in a boat crossing the water of Luo, thinking of the god of Luo, and looked back when he left the city in his car, endlessly attached to the god of Luo.
The main characters in this volume appear repeatedly in different scenes and the image is rich in change. As the background of the characters, the rocks and trees also play a role in separating and linking the different segments of the scroll, maintaining the integrity of the composition. The Luo Shen in the painting, with her flowing clothes, graceful and relaxed dynamics, and gaze, expresses a concerned and hesitant look. Cao Zhi's image has the style of an aristocratic poet, but also expresses the state of mind of melancholy and longing. The colors of the painting are bright and colorful, rich in poetic beauty. The success of the painting in portraying the psychology of the characters and its mastery in expressing emotional content reflects the new development of Chinese painting in this period.
The Luoshen Fu Scroll was first recorded in Wang Yun's Catalog of Paintings and Calligraphy and Tang's Paintings and Drawings of the Yuan Dynasty, and then in Ming Dynasty's Maowei's List of Famous Paintings of Nanyang. In the Song Dynasty, there are many copies, now **** three volumes exist, but this volume is the most complete.
Dream (oil on canvas, 204.5 cm × 298.5 cm, 1910, Museum of Modern Art, New York) Rousseau (France)
Henri? Rousseau (1844-1910) was a self-taught painter whose father was a laborer and whose mother came from a peasant background. His father was a laborer and his mother was a peasant. Rousseau served in the army for four years when he was young, and met soldiers who had been to Mexico, and their stories of exotic customs made him very eager to settle in Paris in 1868, and then took part in the Franco-Prussian War in 1870, and then became an employee of the Customs and Excise Department in Paris after his discharge from the army, and was dismissed because of his fraudulent dereliction of duty, so that he had to play in a tavern in order to make a living. He also participated in painting, but was untrained, and his works were simple. This "clumsy flavor" was appreciated by Apollinaire, a famous poet at that time, who wrote an article for him and recommended him, and from then on, he gained a certain reputation in the painting world. Encouraged by the expressionist artists, he kept this honest way of depicting things, and mixed it with a certain mysticism in his subjects, which made his art unique.
The Dream shows a kind of fantasy primitive forest. There are some strange beasts and rare tropical plants on the picture, besides broad-leaved jungle, there are also beautiful orchids and tropical fruits, etc. This is a primitive jungle that has never been touched by human beings. This is a primitive jungle where no one has ever been, but in such an unimaginable environment, there is a naked woman lying in an incredibly gorgeous sofa. In the center, a dark-skinned man plays his flute in the direction of the audience, and a lion peers out from the bushes. None of this is a real presence; the seasons and circumstances are against the grain. It is a dream, a bizarre dream of the painter's mind, extremely lyrical and decorative.
The Dream has a certain element of expressionism, because the things concentrated on the painting - virgin land, lions, beautiful birds, horrible American bison, miserable lonely moon, dark-skinned pied piper, and deformed nude women, etc. - only reveal the childlike imagination of the painter, and because of its wonderful and interesting, it has been appreciated by many people. It was appreciated by many because of its humor. One critic said wryly, "His genius trumps naivety, and he should be hailed as a trailblazer of 20th-century art."
Melancholy and Mystery of a Street (oil on canvas, 87cm x 71cm, 1914, private collection, New Canaan, Connecticut, USA) Kiriko (Italy)
Giorgio? De? Kiriko (1888-1978) was born in Greece of Italian parents. In his early years, he studied sketching in Athens and then painting for four years at the Athenian Academy of Arts and Crafts. After the death of his father, the family moved to Munich, where Kiriko continued his studies at the Academy of Fine Arts. In Germany he was exposed to the influence of B?cklin. Kiriko was also enthusiastic about Klimt, Klingel, Alfred? Kubin and other painters' styles.
He read Nietzsche's philosophy in Germany and became interested in the writings of Schopenhauer. Kiriko was extremely impressed by Nietzsche's inquiry into the meaning of things beyond appearances and by his literary prose describing the empty piazzas made up of those arched buildings in Turin, Italy. This painting, The Melancholy and Mystery of a Street, is a prime example of this metaphysical painting.
The painting's perspectival depths are extremely compelling. On the right there is a large shadowed area shaded by dark brown and gray buildings with vaulted ceilings, and on the left there is a low white arcade that stretches out in long stretches. The sky was overcast, but the street was very bright. At that moment, from the left corner appeared a lone little girl rolling an iron ball, whose shadow seemed to drag in from out of the picture. In front of her is another ghostly shadow, dragging long across the bright street. It was all at once illogical and terrifying. In the midst of that shadow is an empty old train car with its door open, puzzling and adding to the viewer's distress. Judging by the time of day, it seemed like a late fall afternoon, but the city square was empty. The marketplace is closed, suggesting an urban apocalypse. Kiriko acknowledged that the painting was inspired by Nietzsche's depiction of an Italian town square, which is dreamlike, and that the time of day is also in the late fall, when the sun in Italy becomes lower and the shadows longer than in summer.
Paris Street Scene (oil on canvas, 105.1 cm × 152.1 cm, 1972) by Richard Estes (USA)
Richard Estes (1936- ) is an American artist who emerged in the United States in the late 1960s as a member of the super-realist movement (also known as "High Realism" or "High Realism"). Realism" or "Photorealism") that emerged in the United States in the late 1960s. This kind of art is a rebellion against the tendency of the West since the 1950s to overflow with individualized expressions, that is, using photography as a model and imitating it to the utmost in order to avoid individuality in art. This practice is not new, as Courbet has painted landscapes based on photography. The difference, however, is that hyper-realism uses a slide projector to project the photograph directly onto the canvas, and then traces it with extreme detail. As a result, any details of the photograph are reproduced precisely and are indistinguishable from the photograph, except that this original large landscape has a strange visual effect after such imitation, which not only inhibits the artist's individuality, but also makes the viewer have to accept it passively - the more you want to regard it as real the more it distances itself from you. The more you try to see it as real, the more it distances itself from you. Estes' Paris Street Scene illustrates this point well. In this work, in addition to realistically depicting the details of each object, he also used the reflections of the mirrors on the wall to increase this visual reality. However, the artist's real intention is to show people that what we see as real is illusory, and even if it is depicted so realistically, it is still just a painting.
(2) Explanation of Terms
Humanism
The basic meaning of Humanism is that everything is centered on human beings, and everything is for the sake of human beings and the promotion of human nature. It includes two meanings: one as a worldview and a view of history; the other as an ethical principle and a moral code. In the former, it views the world and history as human-centered; in the latter, it emphasizes universal humanity. But there are also two views on how to look at humanitarianism: bourgeois humanitarianism and socialist humanitarianism. The former centers on individualism, the latter on collectivism. Different views of humanitarianism are expressed differently in the art works of different periods.
"False, Big and Empty"
It is a literary and artistic phenomenon formed during the Cultural Revolution, and is related to the principles of literature and art put forward in the Cultural Revolution. First of all, it is the "Three Prominences". The expression "three prominent" was first put forward by Yu Huiyong, the director of the Preparatory Committee of the Shanghai Cultural System Revolutionary Committee at that time, and was later modified and finalized by Yao Wenyuan as follows: "Highlight the positive characters among all the characters; highlight the heroes among the positive characters; and highlight the central characters among the heroes. " According to this principle, they also stipulated that: it was forbidden to write about the faults of the main characters; it was forbidden to allow other characters to take over the scenes of the main heroes; it was forbidden to write about more than two main heroes, and so on. Another creative principle established during the Cultural Revolution was the creative method of "combining revolutionary realism and revolutionary romanticism". This creative method had already been put forward before the Cultural Revolution, but was further developed in the Cultural Revolution. According to the understanding at that time, the so-called "creative method of combining revolutionary realism and revolutionary romanticism" was also "the Marxist idea of combining the 'theory of continuous revolution' and the 'theory of stages of revolution', the idea of combining revolutionary realism and revolutionary romanticism, and the idea of combining revolutionary realism and revolutionary romanticism. The so-called "combination of revolutionary realism and revolutionary romanticism" is also "the Marxist idea of combining the 'theory of continuous revolution' and the 'theory of revolutionary stages' and the idea of combining revolutionary ideals and realistic struggle. This thought is expressed in literary creation as 'the combination of revolutionary realism and revolutionary romanticism'." It is "based on revolutionary realism and dominated by revolutionary romanticism," and its core is "guided by the invincible Mao Zedong Thought, depicting 'new characters, a new world' -- to express the new era in which the workers, peasants and soldiers are the masters, to portray the heroic image of the workers, peasants and soldiers, and to make literature and art 'a powerful weapon to unite the people, educate the people, combat the enemy, and destroy the enemy'."
This style of art, driven by the "Great Criticism" and the sense of class struggle, drew its stylistic elements from certain propaganda paintings and peasant murals before the Cultural Revolution, as well as from current cartoons, and gradually formed its distinctive dichotomy of artistic features: in the depiction of the characters, the frontal characters are mostly close-ups, with squared-off faces and thick eyebrows, In the depiction of characters, the positive characters are mostly close-ups, with square faces, thick eyebrows, big eyes, short and thick arms, bulging muscles, and pointing to the mountains, while the negative characters are trivial and humble, and are in a sorry state hiding in the dark corners; in the form of art, the black and red colors of the painting not only have a strong visual effect, but also represent the duality of the worlds of revolution and reaction, and of light and darkness. In fact, it is mainly another concrete embodiment of the "three prominent" and "red and bright" and "high and grand" creative principles of the Cultural Revolution, which finally turned into a kind of false program
.