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下面为大家整理一篇优秀的paper代写范文- Understanding of materials in visual arts，供大家参考学习，这篇论文讨论了视觉艺术中对材料的理解。当代艺术样态多变，其中材料应用观念的解放以及材料背后的方法论是进入当代性创作的重要的途径之一。当我们说材料是一种媒介的时候，其实我们关注的是材料的运用以及这种运用对效果表达的可控性。也就是说，作为媒介的材料是一种导引我们去往精神性他乡的工具和桥梁。

The change of contemporary art pattern, the emancipation of the concept of material application and the creation of methodology behind the material are one of the important ways to enter the contemporary creation. If art always seeks out a way out in literature and philosophy, it can be said that the material makes the art acquire another vital development space. Especially for contemporary art, the identification and use of non-traditional materials must be an indispensable ability of artists.

This paper attempts to explore the evolution and significance of visual art in material change from the aspects of material concept, application practice, technique originality and theory. The application paradigm and concept thinking of material language are integrated in many aspects, hoping that this kind of excavation can make a new understanding and excavation of the function of the material in the visual art.

When we say that materials are a medium, we are actually concerned about the use of materials and the controllability of the effect expression. In other words, the material as a medium is a tool and bridge that guides us to the spiritual homeland.

The natural properties and intrinsic characters of the material reflected by the instrumental media material express the difference between the materials, such as the expressive connotation of the material and wood materials. The emotional difference between the volume sense of liquid material or gas material and the motion state, and the virtual nature of the reconstructed space-time and the tense relation between the real space and so on, which is embodied by the electronic and digital materials commonly used in the information age.

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At this point, therefore, the attention to the material is more biased towards its instrumental nature. The development of art is always accompanied by the progress of tools and the innovation of materials, and even the process of artistic creation can be likened to the time node of the artist's grasp of the attributes of the material itself, which is the game process of the limitation of the subjective initiative and the material itself. For example, the intervention of turpentine and the innovation of brushes make the painting more gorgeous in color and rich in detail, which provides more space for artists than for egg-color painting. Of course, in the development of the arts on the road, the controversy over the material has never ceased.

Take the use of Chinese painting and ink as an example, the previous example has basically laid the "ink meaning" as the standard of the unquestioned status, and even decided a painting of the pros and cons. But in the face of the so-called innovation of Chinese painting, the meaning of ink is no longer so unshakable.

When we say that material is a language, we are concerned with the symbolic structural relationships behind the material. The material itself is only the attribute of the object and the attribute given by the symbol, which brings to the judgment of the aesthetic meaning of the viewer at the same time.

As an example of the text mentioned above, as an artistic language, it has already constituted a standard aesthetic paradigm. Therefore, the material as a language represents the national nature and diversity in a cultural sense. And as the language structure of the material, at the same time, the semiotic representation of the meaning, such as industrial waste behind the implication of the sociological significance, animal fur and ecological concerns of the isomorphism between the relationship, as well as cultural contrast with the significance of the identification of the juxtaposition of materials and so on.

However, for materials, language and media are often not divided, it is necessary to express the power of language through the media. As a medium of language, material is an important subject to be discussed in this paper. Since postmodernism, the rich, changeable and extensive use of new materials has gradually highlighted its important role in promoting the development of art. From industrial off-the-shelf products to digital technology, from scrap to smart machines, from objects to "people", materials that are the medium of language not only extend the art ecology itself, but also the definition of itself is constantly being re-read.

The creation of an artist can be regarded as a descriptive description of the material, and the question of the voice is ultimately expressive.

The problem of voice is related to the time, person, narrator and the addressee of the narration, and can correspond to the space-time clues, the structure of works, the direction of creation, the creator and the viewer in turn. From the rich types of contemporary art, the artist can be the narrator of the story, or it can be a different narrator in addition to the story. The application of the material, the effect of expressive expression and the response of the narrator determine the role of the artist in the narrative, unfocused, inward or outward focusing. From this level, the material gradually surfaced in the artist's narration, which made it necessary to use the subject and research object.

Therefore, from the theory of classical narrative theory to analyze, the material in a new perspective to consider its narrative function provides a methodological basis. The distance, viewpoint, voice, the multiple structural relation of velocity, the movement clue and the organization path of different materials in unfolding narration, the closing and opening expression of the art text, the contradiction, conflict, continuity and rupture of the narrative material can be found from the theory of narratology and the clues of the material and the ladder of narrative form. The research on materials supported by this methodology has important benchmarking significance both in discipline construction and in application practice.

The meaning of this attempt to interpret the material in a narrative way is also under the concept of structuralism. Many or the same materials in the artist's different, repeated use of the same time, the composition of the expression of the narrative began to become more complex, as the medium of the language of the material also with the process of continuous production and reconstruction. The new phenomena and practices of materials and the characteristics of the synchronic and holistic view of the materials hidden behind the expressive expression should also be represented by structuralism as the methodological basis.

The complexity of the material not only manifests itself in its richness, but also shows the collage, moulding and transformation of materials, the visual psychology of material composition, the cultural psychology, the contextual analysis of materials and the correspondence between the theory of ideology and the construction of material properties and subjects, etc. This must require the use of materials at the same time to consciously explore the application of the material behind the methodology and its variation in different contexts, which is the most theoretical attempt in this paper.

From Duchamp will be finished as a work began, all kinds of novelty materials in the postmodernism has been widely used, and even can be described by dazzling. This not only resulted in the blurring of the boundary of art form, but also promoted the change of artistic idea. But this kind of transformation which manifests in the material, itself also represents the change of the Times and the new request of the time change to the art development.

Dong's "Maximize the Art" works showcase the daily necessities of his mother, including his childhood. The material has formed the intrinsic logic of contemporary art to a certain extent, because the material is not the simple form and the expression relations in the contemporary art application, it represents a kind of idea transformation and the expression. If the relationship between "device" and "Tao" is likened to the relationship between material and art, it is "Tao ... Therefore, Confucius in the shape of the shape, the word is also "." It can be said that materials on the development of contemporary art is not the work. From the simple tool to the medium of the language, the material is already an inseparable part of contemporary art through different narrative methods.

However, in the face of the increasingly abundant new materials, we can not avoid the abuse of materials caused by the drawbacks. This requires a new understanding and attention in the study of materials in teaching. Therefore, it is very valuable to elevate the application and understanding of art materials to at least the same important position as the traditional technical training such as sketch and color. For the current domestic art education, undoubtedly has a very urgent significance.

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