The transformation of natural images and artistic images

The transformation of natural images and artistic images The image in any work of art is carried out under the perspective of man as the subject, which permeates the artist's unique aesthetic concept and spiritual value. Under the mental emotional about, the artist's visual selection are changing, in the natural looking for meets the needs of their own emotional and spiritual value corresponding to the form and language in the process of the artist's inner aesthetic also changed accordingly, and this change is mapped to the artist's visual selection methods and forms, therefore, The various transformations of visual forms in art history also reflect the inevitability of aesthetic development in their respective periods. The influence of artistic visual choice on the transformation from objective object image to artistic image is a matter that needs to be discussed in artistic creation. In the following, I would like to discuss this issue by analyzing typical artistic images from several periods in the history of art. https: In the religious fanaticism of the Middle Ages, people were confined in their "mental prisons", unable to see the darkness and inspired by a devotion to God. The description of hell in flames and the religious concept of bright heaven and paradise are the sources and forces that inspire painters to create. Many painters approach painting with this ideological belief. Of course, they do not pay attention to the true description of natural objects, but pay attention to listen to the picture and the call of the soul. They use lines, shapes and colors to build another world besides nature, expressing the religious spirit of artists. From the organization of the picture itself and the expression of the image, we can taste its own intrinsic value, which is also the way and frame of the transformation of natural images by artists at that time. We can say that this religious atmosphere creates a "mental prison" in the artist's heart, and it is this "mental prison" that restricts the freedom of the soul and the sublimation of the spirit. But with the advent of the latter stage of humanism, a passion developed. Renaissance painting is guided by the spirit of science. The images made up of observable light and shadow and shapes entice us to capture what is visible and elusive in nature, that is, to find out part of human nature in the objective images. Painter from objective image translation of the images that appear to clear - maybe we will immediately recognize they belong to us in real life there have been part of that we produce's perception of a reliable, more human nature is accompanied with the surface of the subject and objective image, content and form of transformation into a motif. Leonardo Da Vinci's masterpiece "Mona Lisa", embodies the rational modeling features, and eternal virgin holy picture charming smile, although with the religion in the middle ages, but the accurate portrayal of the human body structure, leonardo Da Vinci and the processing of ideal performance of light and space, make the picture again in real life, the image of the female's gentle and kind. The sculptures and frescoes of Michelangelo, a master of all kinds, reflect the precise anatomy and real physical structure, and the rational arrangement of the degree and quantity of the human body, so that its image forms a compact and powerful coherence. The works also greatly strengthen the molding power and internal tension of line and form, fully reflecting the great body and tragic heroic spirit, such as David, Night and other works. Michelangelo these image not only has real simulation to the object, and it also implies the real "unlike", the image of the body after the artist rational processing, sometimes to go with a generous, through art language transform nature as human's ideal image, reflected the Renaissance rational humanism color. In the Renaissance, artists consciously used science and reason in the transformation of images, while some philosophers tried hard to find the "mathematical relation" behind the transformation and creation -- a kind of law or rational idea relatively independent of the concrete image, and made it become the law in the transformation and aesthetic norms in the appreciation. Such as "body proportion", and they advocated the "golden division" and so on. These mathematical proportional relations extracted from natural images were applied to the transformation of images by painters, so that specific formal features were always rationally incorporated into realistic shapes and picture compositions at that time, and the regularity, rigor and calmness of image lines, shapes and colors were controlled with a scientific rationality. On the analysis of art works in the Renaissance period, we can say that if the painter wants to obtain the ideal image, he must make the object image and its relationship subjective and purposeful inductive, adding, changing. To some extent, it changes the reality image and its dependence, and transforms it into an ideal image format that conforms to the artist's spiritual feelings. Therefore, the rational intervention in painting, painting to a certain extent estranged, deviated from the reality of the object, this kind of rational "mathematical relationship" on the painting of the transformation of the norm, has long been a major western painting transformation mode, the impact is far-reaching. The flourishing period of Impressionism in the 19th century was a period of rapid development of western social economy, science and technology. Industrial production influenced and changed artists' aesthetic concepts and spiritual beliefs from the subconscious. In order to adapt to and performance of a new life experience, they hide an uneasy heart, their eyes in nervously looking for something with your empathy, medieval ghost has subsided, dreams of the enlightenment and humane passion by industrial civilization to shatter against the monster, the new question in producing, new way of artistic expression is produced. The impressionist pioneer Manet, whose monumental Olympia, in both content and form, attacked the traditional way of painting, did not have the peaceful ease of Titian's Vernus. The picture caused anxiety at the time, because people were accustomed to admiring the elegant goddess lying on the bed, and could not tolerate the painting depicting the naked form of a young girl. Although the nudes of ordinary girls are qualitatively the same as the nudes of goddesses, people insist on this dividing line. The theme and purpose of Manet's works are precisely to expose this line of hypocrisy. His figures live in the light of real life. The interpenetration and intertransformation between colors of objects and images. The emphasis on pure and objective description reduces the subject matter to the status of painting tone, makes the picture with the sense of reality of life, and breaks the boundary between sketching and creation. Monet, the master of color in Impressionism, is a follower and admirer of light. In the world In Monet's eyes, everything is interpreted as an illusion of light. It does not matter whether it is a church, a haystack, or a lotus pond, because what he sees is the shape and color of the object -- an illusion created by the pulsating light and atmosphere and distance. His works "Church" and "Haystack," the dark blue and purple and bright yellow, scientific contrast is appropriate, and can be expressed in harmony. We can be sure that it contains elements of Monet's subjective epistemological judgment. Otherwise, churches and haystacks would not look like Monet's picture. Science and the principle of optical further found that the impressionists pays attention to the more intense of nature, they use eye observation of the natural object in detail, and according to the principle of optics, the analysis of various relations and reorganize the object, the object from the original meaning, and into the light and color are intertwined, the color and shape both play a role, together create artistic conception. To sum up, we can think that painters' understanding of the transformation between objective objects and artistic images in their specific environment reflects their unique aesthetic concepts and spiritual values. The Middle Ages were marked by their fanatical religious ideas. The transformation of Renaissance revolves around humanism, and is carried out with rational and controllable light and shadow, proportion and form. The transformation from object to image of Impressionism is based on the discovery of optical principles as the fulcrum, so that the content of the painting to the form as far as possible in line with their aesthetic ideas. This process of change is the sublimation process from the limited "mental prison" to the infinite freedom, and is also an important development process of art history. Today, reexamining the antecedents and consequences of this process in art history helps us to constantly update our ideas and continue to find the harmony between spiritual freedom and natural expression. Understanding this point will have positive significance for our future creation and the direction of easel painting.