The Research On The Viewing Ways In Western Paintings

This paper is the research of the mode of western painting in the view,not here for painting summarizing the concept of ‘view’,to distinguish between ‘view’ranges,nor from the Angle of the history of philosophy to do cultural analysis.This paper aims to analysis and comparison of western paintings in different periods,this paper implied in the process of development of western painting in their visual authenticity and decisive meaning behind it,to reflect today’s figure how natural viewing behavior alienated media era,combined with the contemporary painting style of potential crisis,highlight the view of phenomenology of contemporary painting has far-reaching significance,expect to return to natural viewing behavior process itself,in a figurative expression painting method as the breakthrough point,trying to explore contemporary painting creation path to development.This article points after one to two chapter outline form of visual in ancient Egypt,ancient Greece painting,discussed a conceptual meaning of ancient Egypt and the ancient Greek for the significance of existence in the natural view the shift,emphasizes the significance of natural nature oriented to view;The third and fourth chapters discuss ancient Roman’s view of the individual and the “inner view,the divine thought" of the middle ages,and the intrinsic significance of this transformation.Chapter v discussion under the laws of linear perspective drawing visual appearance,entire chapter is based on perspective as the main line,from the perspective of the Renaissance is widely used,this law and view behind the authenticity of the dialectical relationship between each other;From the rational visual construction of Nicolas Poussin to the instant vision of impressionism,this paper discusses the interweaving effect of the concept of the subject in painting.From expressionism to abstract painting,until the deconstruction of perspective is completed,the subjective root of vision is discussed,and the inner force of the transformation of the painting style is emphasized.Next as main part,chapter three,chapter 6 discuss empirical intuition,through the analysis of distinct works of Gustave Courbet、Corot and so on.the concept of realism,visual reality significance and influence on later,and analyze the concept of figurative expression painting and traditional painting in the face of contemporary painting ecological attitude and relationships.Seventh chapter discuss photographic view,to analyze Chinese oil painting origin and the domestic current situation of the painting,discuss the views is under the action of alienation caused by the crisis of contemporary art,reflect on a single creative idea for a long time under the root cause of the visualization expression.the eighth chapter is view of figurative expression,combining the works of PaulCézanne 、Alberto Giacometti、 Giorgio Morandi and so on,tracing painting problem of truth,to explore the significance of authenticity of the visual sense,emphasizing a phenomenological type for intuitive experience the true state of object and self,and discuss the possibility of a kind of non-objective painting.In this way,we can respond to the painting crisis in the present technical picture era and try to explore the possibilities of painting development.