蚌埠学院学报
蚌埠學院學報
방부학원학보
JOURNAL OF BENGBU COLLEGE
2014年
3期
46-49
,共4页
视觉形象%视觉旋律%节奏%神经电频率%写实绘画%抽象绘画
視覺形象%視覺鏇律%節奏%神經電頻率%寫實繪畫%抽象繪畫
시각형상%시각선률%절주%신경전빈솔%사실회화%추상회화
visual image%visual melody%rhythm%nervous electrical frequency%realistic painting%abstract painting
从审美心理学角度，论证了“视觉旋律”的客观性；以新的视点，确立写实绘画为“视觉形象”，意象和抽象等非写实绘画为“视觉旋律”，由此从根本上解说西方绘画从视觉形象到视觉旋律演变的内在原因。
從審美心理學角度，論證瞭“視覺鏇律”的客觀性；以新的視點，確立寫實繪畫為“視覺形象”，意象和抽象等非寫實繪畫為“視覺鏇律”，由此從根本上解說西方繪畫從視覺形象到視覺鏇律縯變的內在原因。
종심미심이학각도，론증료“시각선률”적객관성；이신적시점，학립사실회화위“시각형상”，의상화추상등비사실회화위“시각선률”，유차종근본상해설서방회화종시각형상도시각선률연변적내재원인。
The objectivity of visual melody was proved from the perspective of aesthetic psychology .From a new perspective ,realistic painting was defined as visual image , unrealistic painting such as imagery and abstract painting was defined as visual melody ,thus it was fundamentally explained for the internal cause of the western painting evolution from visual image to visual melody .
