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    Please use this identifier to cite or link to this item: http://ir.cnu.edu.tw/handle/310902800/23804

    標題: 論杜象繪畫裡的形式構成
    Discussion on the Form of Construction in Duchamp’s Paintings
    作者: 李秀珍
    貢獻者: 化粧品應用管理系
    關鍵字: 杜象
    concepts of movement
    elementary parallelism
    fourth dimension
    日期: 2010
    上傳時間: 2011-05-18 11:59:08 (UTC+8)
    摘要: 對於杜象藝術哲學的探討,多數人選擇從現成品的顛覆概念進行分析,藉以突顯其「無所謂」也「無所為」的反藝術哲學。實際上,任何東西看久了都會產生美感;當杜象的現成品開始被當成藝術品欣賞的那一刻,他反藝術的哲學就已經徹底失敗了。藝術與非藝術的論證,是個永遠無解的問題。
    Most researches on the art philosophy of Marcel Duchamp tend to analyze his subversive concept of ready-made to reflect his anti-art philosophy of indifference and inaction. In fact, the aesthetics of any object can all be generated once it has been appreciated for a long time. When Duchamp’s ready-made started to be appreciated as works of art, his philosophy of anti-art totally failed. The discussion over art and non-art is a question that can never be solved.
    To avoid looking for codes which in fact are not hidden in Duchamp’s works or being trapped by the binary dialectic, the study chose the paintings of Duchamp during 1911-1913 (before he proposed the concept of ready-made) as research subjects. The period of 1911-1913 is an important stage in which he had more serious attitude towards creation, desired to make a breakthrough of traditional concept, and tried to transform his art. The study tried to investigate how Duchamp cast doubts over the nature of art through his painting form, what the structural characteristics of this painting form were, and how this painting form guided painting into the fourth dimension beyond the vision by consulting Duchamp’s personal creation notebook, interview documents, treatises of scholars, comparative analysis on the form of painting and ideas for creation.
    關聯: 嘉南學報(人文類) 36期:p.699-712
    Appears in Collections:[嘉南學報] 36 期 (2010)
    [化妝品應用與管理系(所)] 期刊論文

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