Visual form is the fundamental method of visual art. In this paper, the actual visual forms of the German nation starting point, focus from changes in perceptual method (tactile, visual method, etc.), visual forms of static structure (superficial and deep structure analysis) and visual forms of static structure (visual forms of generative transformational relations and visual forms of composition and style transformation and human relations), civilized history (the sense of the world, life sense) dimensions on visual situation to stop the assessment, and strive to make comparison comprehensive master. This article according to the logical relationship points as the following five departments in the first chapter "visual forms of the actual origin and with historical and cultural relations. The German state of the actual state of the visual reality stopped. At the end of the 19th century and the beginning of the 20th century and followed that principle of ancient art have sprung up, situation score was increased to an unprecedented important position. Under the historical conditions, visual situation actual in the German state of art art critic and historian Roger Federer, Hilde Willy Brandt, RIEGL, Wolfflin, wallinger ER and art psychologists Lipps, Fischer et al research set up. Visual forms of the German national actual hand is pure potential research, which set aside civilization, race, age, religion, etc. internal factors, take a picture way, from an intuitive approach to change the angle open the situation discussion; but on the other hand, the visual situation actual ultimately pointing is pursuit visual situation and the energy structure of the corresponding relation, situation to show understanding of the world and life. The actual situation of the German speaking countries to discuss the actual situation for the next step of the research foundation. The second chapter "the essence of the visual situation". The visual form originated in the situation, in this chapter, the concept of "situation" from the hands of its internal connotation and made a comb. The situation significance attributed to eight items, each of them corresponding to certain areas, but sometimes is not able to eliminate the cross. It is suggested that the concept of "circumstances" in the sense of "situation" is necessary to clarify the results of the study. Later transferred to the visual form of research. This chapter will visual situation points for surface situation and deep situation two of the eve of the Department, the former is the preface to the point, line, surface, texture, shadow, texture materials; and the latter is the spatial relations, space cohesion, spacing, the bias of substandard tolerance, deep situation will eventually crystallization for rail of circumstances in the visual arts, such as proportion, comparison, and rhythm. The situation on the surface and deep visual form form of vocabulary and grammar is the focus of this chapter to discuss the location of the. The third chapter "the stage of the visual situation and the transformation of the style of the Oriental visual arts". "Stage" will be a long history of art in accordance with the principles of logic is divided into different stages. This chapter put forward to visual forms and style change stop stage, which will be the history of visual art is divided into four stages, to be summed up with the concept of "organic" and "inorganic". "Inorganic" and "inorganic" refers to the original nature of two kinds of conditions, "inorganic" refers to is asexual life natural category, "inorganic" refers to the lives of natural category. In this paper, the "organic" and "inorganic" concept refers to the situation that the shape and style of visual features. In the history of art forms of visual art separation for primitive "inorganic situation" (geometry), the classical era "inorganic situation" (plants, plant etc. decoration), in the era of ancient art "inorganic situation" (geometry), in the era of ancient art "tangible" (various forms of both). Through the analysis of the four era art form, showing people's energy and the change in world outlook. In addition, the second part of this chapter analyzes the exterior and interior elements of the style change. British Art psychologists Gombrich proposed style change assessment from two angles to stop that synchronic research and the use of research, the former based on the style of the internal structure of the identity to discuss, namely works of art in the midst of the period, religion and civilization are composition and conversion of style to the comprehensive effect, that is to say, the style change is of all kinds of elements all affect the results. The latter is based on their study of RIEGL's art will, pointed out that the style change is the inner driving force of art achievements and artistic growth inevitable logical discipline. This paper pointed out that, in fact, visual form and artistic style change is the visual paradigm change results. Paradigm transformation is a kind of confidence. Just as each of the serious breaks in the scientific movement is a paradigm shift. New art style of change essentially is a thought form and information release paradigm change is a change in the visual paradigm, and the result is the emergence of the art of the new circumstances and new style. Also pointed out that the research visual forms and artistic style to change the reasonable method is to art change of inside and outside factors, emphasize a kind of any will study of visual art produce adverse effects. The fourth chapter "the reception of the visual situation". This chapter is divided into two departments, namely "visual art forms and receive the truth" and "forms of visual art reception threshold expansion." basis 目录: |
