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Creativity within copying: A comparative study of copying as a way of learning in Euro-American painting and Chinese painting traditions.

机译:复制中的创造力:比较复制,以此作为欧美绘画和中国绘画传统中的一种学习方式。

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摘要

In the modern world, innovation is a driving societal force, and the arts---following from the progressive movements in the sciences---also place great importance on innovation. In all areas of the arts, producing original work has become a central value in artistic creation and has become synonymous with creativity. It is in pursuit of this originality that young artists must negotiate their relationship with the artworks of the past. At times, young artists avoid studying previous masters' works for fear that such learning will hinder or undermine the cultivation of their originality. Such fears and concerns are often, in turn, reflected in art teaching. They, in any event, form a dimension of what Harold Bloom (1973) called "the anxiety of influence." I wish to re-examine this anxiety by considering the relationship between learning from the past and creating one's own original voice, as the anxiety, harbored within the push for innovation or originality, itself contains the seeds for the questions that it poses about creativity. Since this concern has a broad scope, I will focus my lens on one particular way of learning from the past, which is most telling for the purposes of this discussion: copying. Copying is often perceived as one of the most rigid ways of learning, one that fosters little or no creativity. If creativity, however, can be spurred from such a rigid way of learning as copying, then creativity might also be fostered by learning directly from tradition. Through a comparative study of how copying has been used as a way of learning art in Euro-American and Chinese artistic traditions, I seek to answer the question of how artists and learners evolve from learning from the past to creating distinctive voices. A contemporary thread of the investigation, which inserts it in a domain beyond the historical, is lent by interviews with students and teachers about their experiences and thoughts on copying.
机译:在现代世界中,创新是社会的推动力,而艺术(紧随科学的进步运动之后)也非常重视创新。在艺术的所有领域,创作原创作品已成为艺术创作的核心价值,并已成为创造力的代名词。为了追求这种独创性,年轻艺术家必须与过去的艺术品进行谈判。有时,年轻的艺术家会避免学习以前的大师作品,因为他们担心这样的学习会阻碍或破坏其原创性的培养。这些恐惧和担忧通常反过来又反映在美术教学中。无论如何,它们构成了Harold Bloom(1973)所说的“影响的焦虑”的维度。我希望通过考虑从过去的学习和创造自己的原创声音之间的关系来重新审视这种焦虑,因为在推动创新或独创性的过程中,这种焦虑本身就蕴含着对创造力提出的问题的种子。由于这种关注的范围很广,因此我将把注意力集中在一种从过去学习的特殊方法上,对于本次讨论的目的,这最能说明问题:复制。复制通常被认为是最严格的学习方式之一,很少或根本没有创造力。但是,如果可以从诸如复制之类的严格学习方法中激发创造力,那么也可以通过直接从传统中学习来培养创造力。通过对复制如何在欧美和中国艺术传统中作为一种学习艺术的方式进行比较研究,我试图回答艺术家和学习者如何从过去的学习发展为创造独特声音的问题。通过与学生和老师进行有关采访的经验和想法的访谈,借出了当代的调查线索,将其插入了历史之外的领域。

著录项

  • 作者

    Pan, Qing.;

  • 作者单位

    Teachers College, Columbia University.;

  • 授予单位 Teachers College, Columbia University.;
  • 学科 Education Art.
  • 学位 Ed.D.
  • 年度 2007
  • 页码 220 p.
  • 总页数 220
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 J-4;
  • 关键词

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