本篇paper代写- Tragic aesthetics in photography讨论了摄影艺术中的悲剧美学。悲伤、悲剧和崇高都是具有“悲伤”意义的审美价值观，与“美”有着显着的差异。当代摄影师的许多概念摄影作品都是基于感官世界中各种情绪的发泄，以及对社会当前一些情况的讨论。散乱的辐射创造了大量反映社会现状的“短篇小说”。通过表现出无助和极端的笑话，将整个摄影作品的画面安排成舞台表演的状态，用一种近乎荒诞的展现方式，突出了这种悲情。人物面目呆滞，周围景物市井且破旧，整体色调压抑，观者能感觉到的悲伤感是由外及内的。悲剧美学不是字面意义。这是美学的一种特殊的表现形式，也正是两者之间的反差形成了更加别致的美感。本篇paper代写由51due代写平台整理，供大家参考阅读。
The destruction of the things of life and the destruction of the good are sad. Tragedy in real life cannot be regarded as a direct aesthetic object, otherwise people are inhuman. The realistic tragedy only has the aesthetic essence of tragedy in the aspect of objectivity. Because the tragedy of art form establishes the psychological distance between the tragic event and the aesthetic subject: from the real tragedy to the tragic art, there is a time interval, which makes the aesthetic subject no longer fall into the reflection of the reality. At the same time, having a space gap reveals different, unfamiliar or somewhat strange Spaces and makes it difficult for the aesthetic subject to join in.
Many of the conceptual photography works of contemporary artist and photographer ma liang are based on the venting of various emotions in the sensory world and the discussion of some current social conditions. Scattered radiation creates a large number of "short stories" that reflect the current situation of society. Ma liang performed one drama after another for us with the scenes and characters he "made", creating more dramatic absurd effects with the illusion of creation and the reality of photography. In his 2004 work my circus, you can see that people enslaved by life must play vivacious and fragrant. The man in the picture seems to be smiling and sinking into himself.
The helplessness of everyone living in this world is very tragic, and ma liangze, by showing this helplessness and extreme jokes, arranged the whole picture of his photography works into a stage performance state, with an almost absurd display way, highlighting this tragedy. The characters are dull, the surrounding scenery is shabby, the overall tone is depressed, the audience can feel the feeling of sadness is from the outside to the inside.
When Hans holbein, a German portrait artist, was 23 years old, he created an oil painting, 200cm long and 30.5cm wide, that showed the dead Jesus lying in a stone coffin, without any of the usual religious paraphernalia, such as a weeping angel or a virgin. A lot of people at that time would draw religious subjects, they would draw Jesus and they would often draw him on the cross with clouds and angels in the background, or the people at the bottom taking him down from the cross, showing the greatness and holiness of Jesus. However, this painting by little holbein is different from other paintings. The body of Jesus is rigid, and the whole picture is dark and gray. The face and skin of Jesus are not shining at all. Russian writer Dustoevsky once said, "to see this picture is enough to make anyone lose faith." The light in the picture comes from below. Few artists have dealt with the end of a heartless death so vividly, deeply, calmly, and openly. Greenlewater, also a German painter, painted the crucifixion of Jesus and other altars of similar scenes, and his paintings are probably the most gruesome of these. But greenlewater's Christ, though terrifying, has a strong suggestion of the possibility of resurrection, a suggestion that does not exist in holbein's paintings, which are much less emotionally charged. It was not holbein's lack of religious feeling, but the fact that his style reflected a calm, objective, realistic state of mind, completely different from greenlewater's peculiar mental and spiritual concern.
Contemporary photographer zhang wei's conceptual photography work "portrait of a certain dead man" is through the expression of this tragic aesthetic technique of Hans holbein, which USES the special size of the picture to show the sense of oppression in the coffin, and the characters are replaced by hot figures in contemporary society. For example, doctors, miners, vagrants, etc., highlight the helplessness and desolation of these people. Each of the characters lay quietly on the platform, their clothes neatly combed. The atmosphere of sadness is highlighted more reversely. Photographer zhang wei replaced the concept of sanctity by posing models in different costumes. The author once said that he wanted to reveal the sickness under the healthy dress, and the helplessness, fear and anxiety in the blank expression. Many discordant natural combinations together to warn people, in fact, each person in the society is playing their own role, but after all, are superficial, temporary, and maybe even meaningless tragedy. This special form of expression becomes the entry point for the audience to better interpret the work.
Many contemporary works of art use the expression of tragic aesthetics and even more use contemporary photography. This paper only cites the works of teacher ma liang and teacher zhang wei for elaboration. I would like to express my gratitude to these two teachers. Tragic aesthetics has not only existed in western dramas, but also in the creation of art works by contemporary Chinese artists. Photographers are good at using "beauty in sorrow" to show their ideas and express the other side of a better life. Aristotle once said: "the purpose of art is not to express the appearance of things, but to express the inner meaning of things". Contemporary photography art is not only a record, its function is to expose events to attract widespread social attention. Conceptual photography not only shows the photographer's concept, but also represents the photographer's cognition of the society. However, most photographers choose to create with the expression of tragedy, which proves that there are many tragedies that need our attention in the society.
Tragic aesthetics is not literal. This is a special form of aesthetics, and it is the contrast between them that forms a more unique aesthetic feeling.
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The destruction of the things of life and the destruction of the good are sad. Tragedy in real life cannot be regarded as a direct aesthetic object, otherwise people are inhuman. The realistic tragedy only has the aesthetic essence of tragedy in the aspect of objectivity. Because the tragedy of art form establishes the psychological distance between the tragic event and the aesthetic subject: from the real tragedy to the tragic art, there is a time interval, which makes the aesthetic subject no longer fall into the reflection of the reality. At the same time, having a space gap reveals different, unfamiliar or somewhat strange Spaces and makes it difficult for the aesthetic subject to join in.
Many of the conceptual photography works of contemporary artist and photographer ma liang are based on the venting of various emotions in the sensory world and the discussion of some current social conditions. Scattered radiation creates a large number of "short stories" that reflect the current situation of society. Ma liang performed one drama after another for us with the scenes and characters he "made", creating more dramatic absurd effects with the illusion of creation and the reality of photography. In his 2004 work my circus, you can see that people enslaved by life must play vivacious and fragrant. The man in the picture seems to be smiling and sinking into himself.
The helplessness of everyone living in this world is very tragic, and ma liangze, by showing this helplessness and extreme jokes, arranged the whole picture of his photography works into a stage performance state, with an almost absurd display way, highlighting this tragedy. The characters are dull, the surrounding scenery is shabby, the overall tone is depressed, the audience can feel the feeling of sadness is from the outside to the inside.
When Hans holbein, a German portrait artist, was 23 years old, he created an oil painting, 200cm long and 30.5cm wide, that showed the dead Jesus lying in a stone coffin, without any of the usual religious paraphernalia, such as a weeping angel or a virgin. A lot of people at that time would draw religious subjects, they would draw Jesus and they would often draw him on the cross with clouds and angels in the background, or the people at the bottom taking him down from the cross, showing the greatness and holiness of Jesus. However, this painting by little holbein is different from other paintings. The body of Jesus is rigid, and the whole picture is dark and gray. The face and skin of Jesus are not shining at all. Russian writer Dustoevsky once said, "to see this picture is enough to make anyone lose faith." The light in the picture comes from below. Few artists have dealt with the end of a heartless death so vividly, deeply, calmly, and openly. Greenlewater, also a German painter, painted the crucifixion of Jesus and other altars of similar scenes, and his paintings are probably the most gruesome of these. But greenlewater's Christ, though terrifying, has a strong suggestion of the possibility of resurrection, a suggestion that does not exist in holbein's paintings, which are much less emotionally charged. It was not holbein's lack of religious feeling, but the fact that his style reflected a calm, objective, realistic state of mind, completely different from greenlewater's peculiar mental and spiritual concern.
Contemporary photographer zhang wei's conceptual photography work "portrait of a certain dead man" is through the expression of this tragic aesthetic technique of Hans holbein, which USES the special size of the picture to show the sense of oppression in the coffin, and the characters are replaced by hot figures in contemporary society. For example, doctors, miners, vagrants, etc., highlight the helplessness and desolation of these people. Each of the characters lay quietly on the platform, their clothes neatly combed. The atmosphere of sadness is highlighted more reversely. Photographer zhang wei replaced the concept of sanctity by posing models in different costumes. The author once said that he wanted to reveal the sickness under the healthy dress, and the helplessness, fear and anxiety in the blank expression. Many discordant natural combinations together to warn people, in fact, each person in the society is playing their own role, but after all, are superficial, temporary, and maybe even meaningless tragedy. This special form of expression becomes the entry point for the audience to better interpret the work.
Many contemporary works of art use the expression of tragic aesthetics and even more use contemporary photography. This paper only cites the works of teacher ma liang and teacher zhang wei for elaboration. I would like to express my gratitude to these two teachers. Tragic aesthetics has not only existed in western dramas, but also in the creation of art works by contemporary Chinese artists. Photographers are good at using "beauty in sorrow" to show their ideas and express the other side of a better life. Aristotle once said: "the purpose of art is not to express the appearance of things, but to express the inner meaning of things". Contemporary photography art is not only a record, its function is to expose events to attract widespread social attention. Conceptual photography not only shows the photographer's concept, but also represents the photographer's cognition of the society. However, most photographers choose to create with the expression of tragedy, which proves that there are many tragedies that need our attention in the society.
Tragic aesthetics is not literal. This is a special form of aesthetics, and it is the contrast between them that forms a more unique aesthetic feeling.
要想成绩好，英国论文得写好，51due代写平台为你提供英国留学资讯，专业辅导，还为你提供专业英国essay代写，paper代写，report代写，需要找论文代写的话快来联系我们51due工作客服QQ：800020041或者Wechat：Abby0900吧。
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