An Analysis Of The Embodiment And Function Of The Theory Of Psychological Distance In The Creation Of Figurative Painting

At the turn of the 19^th century and the 20^th century,the theory of empathy is one of the most mainstream aesthetic principles in the field of art criticism.Under its influence,art historians at that time began to carry out their own researches from the perspective of psychology.In such a context,the Swiss psychologist and linguist Edward Bullongh put forward the"theory of psychological distance"in his article"The Theory of Psychological Distance as an Artistic Factor and Aesthetic Principle"in 1912.“Psychological distance”,as the core concept,exists between the subject and the object during the process of artistic aesthetics and creation,which is a specific psychological state subordinated to the subject.However,the situation that the“distance”is too small or too large would all have a negative effect on the appreciation and creation activities.An expected effect can be achieved only when there is an“ideal psychological distance”.The"theory of psychological distance"not only enriches the aesthetic theory,but also plays a positive guiding role in art appreciation and artistic creation.Starting from personal creation practice,with the aid of consulting relevant documents,the author analyzes the main connotation of the"theory of psychological distance"in the first chapter;the second chapter primarily explores how the"theory of psychological distance"deeply influences the artists,the subject of the creation process,and further reveals the most profound insights and the most sincere emotions of the artists contained in figurative painting;and the third chapter focuses on the author's own ideas and feelings within the personal creative practice.The final part is the conclusion,manifesting that the figurative painting,as an easel painting,still has a unique value in the torrent of contemporary new media art.