Visual art symbol

下面为大家整理一篇优秀的paper代写范文- Visual art symbol，供大家参考学习，这篇论文讨论了视觉艺术符号。人类的意识过程，其实是一个将世界符号化的过程，思维无非是对符号的一系列操作过程。因此可以说，人是用符号来思维的，符号是思维的主体。视觉艺术符号的创作者在产生一个理念之后，综合自己对象征性符号的理解把握，选择合适恰当的视觉手段，将理念传达出来。然后接收对象即观众再通过自己对象征语言的掌握与理解，把接收到的视觉信息在思维中转换再生。

Semiotics mainly involves the thought process that people perceive objects in visual sense and psychological experience by means of point, line, surface, body, light and color, and then reproduce them through transformation in object vision. In a broad sense, we can understand the symbolic images in art works as well as the art works themselves as symbols.

The famous semiotician Umberto Eco said, "man is the animal of signs." Humans use symbols to express their inner world and convey information. Convey an integrated concept of everyday thoughts to each other through certain language forms, including sound, visual and physical behaviors. Semiotics is a theory about symbols and their application, including the observation of symbols. Semiotics is not a historical subject, but an interpretative subject, but it can be effectively integrated in the exploration of history. Semiotics focuses on the problem of constitution and representation, regarding "text" as a specific combination of symbols that produce meaning. This is a limited perspective without hegemony or coercion.

The origin of art can be regarded as the beginning of human symbolization from the perspectives of imitation theory, witchcraft theory and labor theory. Primitive people used their bodies to capture the movements of animals, imitated the sounds of animals, and depicted the shapes of animals on the cliff with minerals. They danced with their hands and feet and communicated with simple language, so there were the original dance symbols, music symbols, art symbols and language symbols. With the increasing complexity of social division of labor and the continuous progress and development of human society, the symbolic content has become more and more complicated and subtle, and has been widely and deeply used in various fields of natural science, humanities and social science.

Visual art produced by the naked eye as a research associate in the humanities, semiotics in which mainly involves the people in the visual senses and psychological experience on perceived object with dot, line, face, body, in the form of light and color of planned, combination to use, and then by converting the thinking process of regeneration in the vision of an object. In a broad sense, we can understand the symbolic images in art works as well as the art works themselves as symbols. As a set of tools, semiotics provides a series of useful ideas and concepts that I find useful for in-depth and detailed analysis of works of art. When these ideas and concepts may be generated by psychoanalysis, narration and modification theories, they produce insights that do not conflict with traditional art history. In fact, these ideas and concepts often enable students to use intersubject-matter methods more precisely and to make explanations more systematic.

In terms of the association between symbols and the objects they refer to, it is generally believed in the research field of sign theory that symbols can be distinguished into the following three different types, which are also three levels of symbols:

Image symbol is formed by simulating the similarity between graphics and objects. Image symbol is a process of direct perception and belongs to the category of realism in image science. For example, portraits, photographs and so on, when we face such works, we can usually get a more intuitive feeling, such as "what is on the picture?"

Causal or spatiotemporal association between an indicator and the object in question. Such as "signs, signs". From a broad perspective, the laws of the visual flow design art belongs to the category of indicative symbols, as a result of the physiological characteristics of eyes when browsing will display a timeliness, directional and selectivity, that is to say, the line of sight along the image center of gravity, namely the best vision, to a certain selective direction of movement, manifests the visual characteristics of liquidity.

There is no inevitable or internal connection between the symbolic symbol and the referential object, which usually refers to the result of the binding of conventions. The object it refers to and the acquisition of relevant meaning are associative sets generated by the feelings of many people over a long period of time. At the same time, symbol symbolism is also the deepest characteristic of semiotics, which is the extension and association of the connotation of symbol generation and object thinking process. For example the twists and turns of the line, colorific changes in temperature, qualitative soft hard can give a person with corresponding affection experience.

The process of human consciousness is actually a process of symbolizing the world. Thinking is nothing more than an operation process of selecting, combining, transforming and regenerating symbols. Therefore, it can be said that people think with symbols, symbols are the subject of thinking. So how do we interpret images from the perspective of semiotics and use the tools of semiotics? How can symbols separate us from things we already know so as to understand something new? Here, I want to analyze the work "young men" by zhang xiaogang, a contemporary oil painter, according to the principles of semiotics.

The interpretation of visual symbols is sometimes a complex process that requires a combination of psychological and historical concepts.

When we appreciate a visual art work, we will first form an image in our mind, that is, what is the content of the work, whether it is a concrete symbol or an abstract symbol. For example, when we come into contact with the work "young men" by zhang xiaogang, a contemporary oil painter, the first thing we realize is that a young man with glasses, a red scar on his face, a grey-blue tone, and a red scar are pictorial symbols.

After obtaining the above information, we would like to know the "deeper" or derived meaning hidden in the artist's creation intention. If we say that a work has a deeper meaning, we usually mean that the work conveys a potential concept that we cannot determine in the initial observation, namely, the symbolic meaning of the symbol. Of course, to find the artist's intention, we must have a basic understanding of the artist himself and the background of his era.

Now let's try to find out what the artist is trying to convey. We know that zhang xiaogang was born in the late 1950s. He experienced the most turbulent period of history after the founding of the People's Republic of China, especially the cultural revolution, which had a profound impact on people of his generation.

So now let's go back to the picture itself, the young man with the small crew cut, the clean white skin, the look of a standard frail scholar. We know that glasses are the symbol of knowledgeable and educated people, and MAO suit was the general dress of that era. The grey and blue background sets off a gloomy, lonely and indifferent atmosphere. A gnarled scar, shaped like a epaulettes, was particularly cold and brilliant on the cheek. Combined with the above analysis, we can also understand it as the bright red brand of the era of passion and red. The eyes were drawn to the lower left corner, and there was a slight dullness, and the lips parted as if they were looking at some shocking scene, and there was no expression on their faces, and a lonely, repressed emotion was fully expressed. All the symbols recall the scar theme of an era, which is not only a kind of memory, but also reflects the indifference between people in the real society.

After the creation of a concept, the creators of visual art symbols integrate their understanding and grasp of symbolic symbols, select appropriate visual means, and convey the concept. Then the receiving object, namely the audience, converts and regenerates the received visual information in the mind through their own mastery and understanding of symbolic language. Of course, due to the differences in individual emotional characteristics, life experience and knowledge structure, the final form of a work restored to the audience's thinking is different, so there is a saying that "a thousand readers make a thousand hamres". When a person sees a painting that represents a Dutch still life painting of a fruit bowl, the image in other things is a symbol, or representation, of something else. The viewer forms an image of the object in her or his mind, and she or he associates that image with the object. The mental image, not the individual who forms it, is the interpreter. This interpreter points to an object. The object is different to each observer: to one it can be a real fruit, to another it can be another still life, to a third it can be a huge sum of money, to a fourth it can be "17th century Holland", and so on. The object represented in the painting is therefore essentially subjective and determined by the recipient.

Visual art itself is about the expression of symbols, through which the creator communicates his thinking process and conclusion to the audience to achieve the purpose of narration. In other words, it is through the works of the creator and their own experience that the audience can finally understand the thoughts and feelings the creator wishes to express. It is obvious that visual art works, as the medium media, then act as a symbol of the creator's thoughts and feelings, and whether the information the symbol needs to express can be accurately, quickly and effectively accepted and recognized by the audience has become a sign of the success of the creation of works. This is precisely determined by the creator's accurate and effective grasp of symbol selection, combination, transformation and regeneration in the creative thinking process.

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