On The Representation And Signification Of Contradiction Space In Super-Realism Painting

Since the birth of painting art, generations of artists have been pursuing the authentic representation of objective external world, for which there emerged the imitating theory in ancient Greek, mirror theory in Italian renaissance, and the color model of impressionist school. These all went after the real reflection of objective world. As the movements of 20th century modern art promoted, the traditional art aesthetic conceptions have been being refreshed continuously. Therefore, the representation ways of space in western painting also dispensed with reality towards to a multivariate direction, with which there came the contradiction space manifestation through an unreality road.Based on the Triangle Theory of Penrose, contradiction space mainly makes use of contradictory dislocation, isomorphism of contradictory elements and elements substitution, as well as the contrast or even contradict of different contradictory objects and elements, creating a kind of a-logical dual-visual image. It progressively enlarges the painting technology; it has multivariate space concept and representing skills; and it connects among visual feeling and histories, cultures and social psychological dimensions, transcending the natural life to complexity spirituality. The limitation of two dimensions and the illusion of visual sight are utilized to create the contradiction space. In this complicated representing method abnormal space scene can be produced to help artists get rid of all kinds of restriction. There would hinder no boundaries between illusion and reality, logos and insanity, objective and subjective. For this advantage way of representation using psychological sub-consciousness, it turned to be the most powerful way to challenge traditional logic and rationality, and thereby occupy important place in super-realism paintings. This thesis has four parts. The first part makes an introduction to the space representing ways of traditional western painting. The second part analyzes the similarities and differences between contradiction space and traditional space. The third part relates with the technique of expression of contradiction space. The last part discusses the signification of contradiction space in super-realism painting and its inspiration for painters. By this comprehensive and overall analysis this paper gives people a deeper understanding of contradiction space art, and meanwhile provides a new rational angle of survey and referential prospective pattern for modern painting of China.