Abstract: the objective reproduction and subjective exposition of art are accompanied by the birth and de-velopment of art, and those who advocate objective reproduction and subjective exposition have differentviewpoints and different creative practices.However, in artistic creation, objective reproduction andsubjective exposition are not completely separated, but relative and complement each other.The forms ofsubjective exposition and objective reproduction are also diverse. the essence of artistic creation isthe overall construction of the subject and the objective, that is, the overall grasp of the internal e-motion and the external world.Key words: objective reproduction; subjective exposition; distinction; nnity of opposites; form; diversi-ty.

中圖分類號(hào) : J405

文獻(xiàn)標(biāo)識(shí)碼 : A

文章編號(hào) : 1 005-531 2 (2020) 15-0020-02

As a pair of aesthetic concepts, art "subjectiveexposition" and art "objective reproduction" are ac-companied by the birth and development of art. It isalso an enduring topic discussed by experts and schol-ars. This paper makes some discussion on the artisticdistinction between objective reproduction and subjec-tive exposition. as well as their interrelation andform.

the artistic distinction between objective reproduction and subjective exposition.

The so-called art of objective reproduction refersto the artist' s concrete description of the objectiveimage or social life he knows in his works. In terms ofcreative techniques, he pays more attention to realismand pursues the perfection of perceptual form and thereality of phenomenon. In the tendency of creation, itpays more attention to recognize the object and imitate the realitv. This kind of works are approachable,truthfully copied, vivid and exquisite, have a uniqueaesthetic charm, and are generallv easy to be appreciated and accepted by the audience. The art of subjec-tive exposition means that artists use the means ofsubjective exposition of art to express their emotion-al experience and aesthetic ideal. In the creativetechniques, they focus on the ideal and emotional subjective exposition of the object or abandon the specific objects to pursue supersensorv content andideas, and often adopt artistic language such as svm-bolism, moral meaning, exaggeration, deformation andeven abstraction, in order to break through the experience habits of feeling. In the tendencv of creation,it pays more attention to subjectively expounding thesubject consciousness, expressing one' s mind directlvand expressing "the reality of spirit". This kind ofworks are shocking, highly generalized, do not seekresemblance, and emphasize the subjective expositionof selffeelings and personal subjective feelings.

In the history of art, those who advocate objec-tive reproduction and subjective exposition have different viewpoints and different creative practices. Thephilosophical basis of the theorv of objective reproduction of art is to adhere to the objective existenceas the first, to regard the objective natural and social phenomena as the origin of artistic creation, thework of art should reflect life objectively like amirror. and the artist must be based on reality. proceed from reality, pursue the objectivitv of art, andobjectively reproduce the objective world. Therefore,the standard of measuring and judging works of art depends on whether works of art can reflect the authen-ticitv of the objective world.

According to the theory of subjective expositionof art. art is completely an emotional problem, andsubjective exposition is the external presentation ofinner emotion. The subjective exposition of art shouldbe an art form found bv the rush of strong feelings,and the reallv excellent subjective exposition of artmust have unique feelings and original techniques. Thesubjective narrative works are separated from the re alitv of life from the perspective of appearance, butit is the product of embracing life with emotion andcomes from the profound experience of life.

The artistic distinction between objective reproduction and subjective exposition is carried Out withthe development of people' s understanding and the development of artistic activities. It can be said thatthe development of art is a kind of cognitive and con-ceptual development.Human cognition of art is formedwith the development of economv and the progress ofsocietv. This cognitive process is a cognitive processfrom simple, superficial, phenomenon to complex, in-ternal and essential, so art has gone through the pro cess from objective reproduction to subjective exposition.We can see that earlv human cognition and subjec-tive exposition of artistic images were at the levelof intuitive consciousness, painting and sculpturepursued "resemblance". and constantly developed the abilitv to describe and copy objective objects. as aresult, perspective, human anatomv and correspondingaesthetic concepts that serve painting and sculpturehave emerged. The western classical theorv of literature and art. which focuses on the objective reproduc-tion of the objective world of art, has always OCCu-pied a dominant position. So much so that Aristotle' s"poetics", which is based on the theorv of imitation,has taken the lead in Europe for more than a thousandyears. But after all, art is the product of people' saesthetic practice, and the creation of art is closelvrelated to the aesthetic experience and psychologicalactivities of the subject. With the development of societv and culture. more and more people realize thatartistic creation is originallv a human spiritual ac-tivity, so they begin to pay attention to the studv ofsubjective factors in artistic creation. Painting isalso from realistic to freehand brushwork, from con-crete to abstract, from reflecting the material worldto displaying the spiritual world, and art also devel-ops from objective reproduction to subjective exposition.

Second, objective reproduction and subjective exposition complement each other.

The subjective exposition and objective reappearance of art are relative. Subjective exposition and objective reproduction are not completely separated, butrelatively. It is impossible for anv objective reproduction to completely copy objective things. When different artists copy the same thing, they will in-evitably put a subjective mark in the process of copying, even if the art of photography takes the samescenery, the equipment, angle, light, scene, and com-position selected by the photographer will subjective ly explain the subjective differences, and will uncon- sciouslv subjectively explain the world in their own eves. There is a subjective exposition of objective things more or less in a sense. and it is impossible to copy real things purely objectivelv. Anv objective reproduction contains the artist' s subjective initia tive, reflecting his purpose and essential strength.

Similarly, there is no subjective exposition that does not contain any objective reproduction factors, and "spirit resemblance" is inseparable from the un- derstanding and refinement of the objective world. Anv subjective exposition can not be completely divorced from the objective reality, rely solelv on imagina tion. no matter how clever fiction and imagination, can not be separated from the initial objective repro duction and imitation. No matter how strange the ghosts, ghosts, gods and Buddhas are, in essence, they come from the changes of things in reality, from which we can find traces of objective reproduction and real shadows.

Third, the subjective exposition of the various forms of objective reproduction.

The forms of subjective exposition and objective reproduction are diverse. Due to the differences in the artist' s life experience, subjective consciousness and environment, and the idea and mentalitv of observing, experiencing, studying and analyzing the social life. the inner structure of the aesthetic image created is different.Subjective exposition is not balanced and e qual in the allocation of subjective and objective, mood and image. emotion and reason, showing individual characteristics and differences. Some scholar s divi de the difference between subjective expanation and ob jective reproduction into three main types: first, ob jective again.

References :

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[2]Gu Yongzhi. The principle of art[M]. Nanjing: southeast University Press, 2015.

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作者簡(jiǎn)介：王苗苗(1985-)．青島大學(xué)，研究方向：舞蹈史、舞蹈教育。