Ukumelwa okuhle, okucishe kube yizithombe zendaba, ngaphandle kokuvezwa kwemizwa yomuntu siqu, okucaciswe ngokunemba kwezempilo kuze kufike emininingwaneni emincane kakhulu, okubonisa ukucabangela okucishe kube okubandayo, yile ndlela i-hyperrealism kwezobuciko besimanje.
i-hyperrealism
I-Hyperrealism ihlanganisa ukukhiqizwa kabusha kwesithombe ngendlela engokoqobo kangangokuthi umbukeli afike azibuze ukuthi umsebenzi owenziwe umdwebo noma isithombe. Ithonywe kakhulu yinhlangano ye-Pop Art, i-hyperrealism ivamise ukugxeka umphakathi wabathengi. Imidwebo nezithombe zalesi sikhathi zivame ukubonisa izigcawu zokuphila kwansuku zonke, izithombe. Uma isebenzisa izimpawu ezidumile, umnyakazo we-hyperrealist uphikisana ne-Pop Art ngoba iwubuciko obungabonakali: okuningi kakhulu okungokomfanekiso.
Amasu asetshenziswa abadwebi benhlangano ahlukene kodwa wonke anemvelaphi yawo ezungeze isithombe njengemodeli. Ukuze ukhiqize kabusha okungokoqobo ngendlela efanayo, abadwebi ngezinye izikhathi bafaka isithombe kukhanvasi besebenzisa iphrosesa engaphezulu bese bedweba isithombe phansi emininingwaneni emihle kakhulu. Amanye amasu ahlanganisa ukudweba ngqo esithombeni esiphrintiwe ngefomethi enkulu kakhulu noma ukwenza uhlaka lwesithombe ukuze kuphinde kukhiqizwe uhlaka lomsebenzi ngohlaka (isu le-quadrature).
Isikhathi ngasinye, inhloso yomdwebi ukukhombisa iqiniso elingathathi hlangothi neliluhlaza, ukuliguqula libe yinto elula. Ngokungafani ne-photo-realism, i-motif ngokuvamile ayihlotshiswa futhi ayikho imininingwane eshiyiwe. Njengakumodeli yezithombe, umdwebi uzama ukuhlanganisa izici zombono njengokujula kwenkambu noma ukugxila emsebenzini wakhe. Ukudala umsebenzi ongokoqobo kudinga ukuzijwayeza okuningi, ikhono, nokubekezela.
Izici eziyinhloko ze-hyperrealism zihlanganisa ama-nuances alandelayo: Ukusebenzisa imishini yezithombe ukudala nokudlulisa isithombe sokuqala ku-canvas. Izinhlobonhlobo zezinto ezisetshenziselwa ukwenziwa kwezithombe eziqoshiwe. Osayizi ababalulekile bemidwebo. Ukusetshenziswa okubanzi kwe-airbrushing kanye namasu okugcoba lapho upenda izithombe. Izithombe ezinokucaca okuphezulu ezinokumelwa ngokucophelela kwayo yonke imininingwane yento.
Abaculi be-Hyperrealist bavame ukusebenza kumfanekiso, indawo, noma uhlobo lwempilo. Ngaphezu kwalokho, phakathi kwabo kukhona nababhali abakhetha ukwenza imisebenzi yobuciko ezindabeni ezibukhali zezenhlalo nezepolitiki. Ukuze uthole ukulingisa okunekhono kobuciko bombala nezithombe ezimnyama nezimhlophe, ochwepheshe bemidwebo nemidwebo basebenzisa amasu namathuluzi ahlukahlukene: amapensela alula nama-pastel; igazi namalahle; uwoyela kanye acrylic opende; amapeni nezifutho.
Ukulingisa ukuthwebula izithombe emidwebeni yama-hyperrealists kugcizelelwa amasu okuqamba ahambisanayo abolekwe emithonjeni yezindaba: i-cinema, ukukhangisa, izithombe. Lokhu kufaka phakathi ukusondeza, ukuhlukaniswa kwesithombe, imininingwane eyengeziwe, ukugxila okukhulu, ukuhlelwa kwesithombe sohlaka ngohlaka, namanye amasu.
Ngokuphathelene nokuqukethwe kwayo kwemibono, i-hyperrealism iseduze nobuciko be-pop kunobuciko obungokoqobo nobezemfundo, ngoba ibonisa kuphela izici zangaphandle zezinto, ngaphandle kokufuna ukujula komqondo noma ukuchazwa kwenhloso yomlobi. Ikhophi eqondile ekhohlisayo yezinto ezingokoqobo ku-hyperrealism iyisiphetho ngokwayo, ngakho-ke, abaculi balesi siqondiso bavame ukusebenzisa izithombe njengesisekelo somsebenzi wabo, okwenza kube nzima ukuzimisela kokubhala komdwebo owenziwe kulo mugqa.
I-Hyperrealism njengesiqondiso iphikisana ne-conceptualism, njengefomu nokuqukethwe (okungukuthi, ngendlela, ebunyeni kubuciko bokuqondiswa kweqiniso). Ukudluliswa komshini okugcizelelwayo kobudlelwano kanye nokuthungwa okubonakalayo ngeso lenyama kuhlanganiswe nokucaciswa kwezinhlelo: izithixo zesiko le-pop, eziqandisiwe njengama-mannequins, izibalo nobuso babalingiswa kunikezwa ngokunikezwa ngokucophelela futhi zifinyelela isimo se-kitsch. (inhlanganisela yokungabi nalutho kwangaphakathi kwengqondo nokukhalipha nokubukeka kwangaphandle kobuhle bezentengiso).
Isici sesici sobuciko be-hyperrealistic ukungabikho kwemizwelo yombhali kanye nokubonakaliswa kwesitayela sobuciko kanye nendlela yokudweba. Ngale njongo, abaculi basebenzisa i-airbrush, i-glaze, nezinye izindlela ukuze bushelelezi.
historia
E-United States ngeminyaka yawo-1960, ikakhulukazi eCalifornia naseNew York, kwavela ukuqondisa kwesitayela kubuciko besimanje obuphikisana nezimiso zobuciko obungabonakali, ubuciko obungekho emthethweni, kanye ne-tachyism ngeqiniso elisha elingokomfanekiso. Isekelwe ekunembeni kokumelwa kwezithombe okungokoqobo, ngaphandle kwanoma yimiphi imizwa ecabangelayo, evezwa ngokunemba komtholampilo kuze kufike emininingwaneni emincane kakhulu, ngaleyo ndlela ibonise ukungahloniphi okubanda kakhulu, i-hyperrealism iyavela.
Umlando we-hyperrealism, kanye ne-photorealism ehlobene nayo, ingaphezudlwana kwengxenye yekhulu leminyaka ubudala, kusukela ngasekupheleni kwawo-1960. Izitayela ezintsha zavela ikakhulukazi ngenxa yokuthuthukiswa okuphawulekayo kwamakhono obuchwepheshe bemishini yezithombe ngalezo zinsuku. . Amakhamera anesinqumo esiphezulu avele emakethe, ayelungele ukudala izithombe ezisezingeni eliphezulu. Lokhu kwaba umfutho wokwenziwa kwemidwebo ethathwe ezithombeni kusetshenziswa amasu obuciko namathuluzi.
I-Hyperrealism yigama elisetshenziselwa ukubhekisela kusitayela samaciko akhiqiza imidwebo noma izithombe eziqoshiwe ezifana nesithombe esiphezulu. I-Hyperrealism ibhekwa njengegatsha le-photorealism, ngenxa yezindlela ezifanayo ezisetshenziselwa ukudala imidwebo ye-hyperrealistic noma imidwebo. Leli gama lisetshenziswa ngokuyinhloko enhlanganweni yobuciko ezimele nesitayela esithuthuke kusukela ekuqaleni kwawo-2000 e-United States naseYurophu.
Igama lesiFulentshi elithi hyperréalisme livela kumdayisi wezobuciko waseBelgium u-Isy Brachot, owalisebenzisa njengesihloko sombukiso omkhulu egalari yakhe yaseBrussels ngo-1973. Lo mbukiso wawuholwa ngabathwebuli bezithombe baseMelika abanjengoRalph Goings, Don Eddy, Chuck Close noRichard McLean. , kodwa kwakukhona nabanye abaculi ababalulekile base-Europe abafana noGnoli, uKlapheck, uRichter noDelcol. Kusukela lapho, igama elithi hyperrealism liye lasetshenziswa abaculi nabathengisi ukubhekisela kubadwebi abathonywe ama-photorealists.
Imizamo yokwenza ama-protagonists abe namaqiniso ngangokunokwenzeka isivele ibonakala ezikhathini zasendulo. Ukugcizelela ngokweqile kweqiniso kusho ukuthi imisebenzi edalwe ngale ndlela ibonakala iyingozi kancane. Emkhakheni wokuklama ipulasitiki, kwenziwa imizamo emakhulwini amaningi eminyaka edlule ukuze kwakhiwe imifanekiso esabekayo yonkulunkulu, ebonakala ifana nokuphila ngokukhethwa komdwebo wezinto ezibonakalayo nongokoqobo. Lo mbono wokudalwa kwezobuciko waphinde wathathwa ekupheleni kwekhulu le-XNUMX.
Omunye wabadali abaphumelele kakhulu balolu hlobo kwakunguWilhelm von Rumann, owabangela isiyaluyalu esikhethekile ngomfanekiso wakhe "wesithwali samanzi saseRoma". URumann, owazalelwa eHannover ngo-1850, washonela eCorsica ngo-1906, wayeyindodana yesikole saseMunich. Umqophi wenza izithombe eziqoshiwe ngobumba ne-terracotta, kodwa nangethusi elinemibala azenza zibonakale zingokoqobo ngomdwebo ocacile. Ukuvuselelwa kabusha kwalesi sitayela sobuciko kwenzeka eMelika ngasekupheleni kwawo-XNUMX.
Abaculi abanjengoMalcolm Morley, uDuane Hanson, noJohn de Andrea benza izibalo ngengcina nezinto ezifanayo abaziklama ngokunemba kangangokuthi babengase babhekwe njengephutha njengabantu abaphilayo. Izithombe ezingokoqobo zabantu abangenamakhaya, ngokwesibonelo, zaveza imiphumela emangalisayo. Izihambeli zemibukiso yabaculi zazithuswa ngokoqobo ngezinye izikhathi ezesabekayo. Ngo-1969, uNancy Graves wabonisa amakamela amathathu osayizi wokuphila e-Whitney Museum, enikezwe ngendlela enengqondo kangangokuthi ayengase aphuthelwe into yangempela.
Imisebenzi yama-hyperrealists yavusa isithakazelo esikhulu phakathi kwabagxeki nomphakathi, kodwa phakathi neminyaka eyi-10 eyalandela, intshiseko enkulu yobuciko be-ultramodern yadlula kancane kancane. Igagasi lesibili lentshisekelo ku-hyperrealism lagqugquzelwa ukufika kwezithombe zedijithali ezitholakala kabanzi ekuqaleni kwekhulu lama-XNUMX. Uma kuqhathaniswa nobuchwepheshe be-analog, ukulungiswa kwezithombe ezimile kuthuthuke kakhulu.
Amaciko ekugcineni anethuba elihle lokuthatha izithombe ezisezingeni eliphezulu futhi azisebenzise njengesisekelo semidwebo nemidwebo yawo. I-Hyperrealism iyingxenye ebalulekile yobuciko obubonakalayo besimanje namuhla. Imibukiso yemisebenzi yabaculi balesi sitayela ihlale iheha izixuku ezinkulu zababukeli, futhi imisebenzi engcono kakhulu ithengwe ngenjabulo ngabaxhasi abavela emazweni ahlukahlukene.
I-Photorealism kanye ne-Hyperrealism
Uyingcweti uma ukwazi ukuhlukanisa i-Photorealism ne-Hyperrealism. Imisebenzi yobuciko yama-Photorealists ifana nezithombe ezinokulungiswa okuphezulu kobuchwepheshe. Imisebenzi yobuciko engokoqobo kakhulu iyimfihlakalo. Isihloko esivelele ku-photorealism yi-landscape noma ukuma ngobude, kuyilapho i-hyperrealism igxile kakhulu emininingwaneni.
Ngakho uma umthwebuli wezithombe ehumusha ipaki ngokuphelele, i-hyperrealist ingafihla ibhentshi emthunzini ngokugcizelela umsebe wokukhanya kwelanga. Uma umthwebuli wezithombe ependa isithombe ngokujwayelekile, i-hyperrealist izogqamisa isici esithile sobuso. I-Hyperrealism ekuqaleni yayisondele kubuciko be-pop, kodwa kamuva yaba inhlangano ezimele nayo eyathonya abaculi abaningi baseYurophu.
I-Photorealism ingesinye isahluko esisha emlandweni womdwebo owengezwe eqinisweni. Ngokwayo, ukusetshenziswa kwezithombe ekudwebeni akuyona into entsha, kwase kwenziwa ngekhulu le-XNUMX. Kodwa ukulandela isithombe eduze kangaka kwakusho isinyathelo esisha. Kuyamangaza ukubona ukuthi isitayela nokuveza kungahluka kanjani yize bonke laba baculi besebenza ezithombeni.
I-Hyperrealism, ngokungafani ne-photorealism eseduze emoyeni, inesici esibonakala ngokucacile esingokomzwelo. Esebenza emdwebeni, emdwebeni noma ebaziwe, umbhali udala inkohliso yobuciko engokoqobo yento enokuthungwa okungenasici, ukudlala kwethunzi kanye nemiphumela yokukhanyisa. Lesi sitayela siphambene ne-conceptualism, lapho umqondo wombhali uthathwa njengobaluleke kakhulu kunendlela yokukhuluma kwakhe ngobuciko.
I-Photorealism ingumsunguli wezitayela ze-postmodernism esikweni lesimanje. Ngenxa yokubuyela emfanekisweni (isithombe sezinto ezithile), izitayela ziye zavela kubuciko besimanje njengokuthi: isenzo, i-anachronism, i-underground, ubuciko bevidiyo, i-graffiti nabanye.
I-Photorealism ihlale iqala ngezithombe futhi i-hyperrealism ayidingi. Impilo engokoqobo engokoqobo ingaba ngokoqobo ngokweqile uma ibekwe nje esitudiyo futhi yapendiwa. Uma kukhona isithombe esiqoshiwe esingokoqobo (enezinwele futhi sipendwe yonke indawo) kwenza umqondo owengeziwe uma ubizwa ngokuthi i-hyperrealism kune-photorealism, ngoba isithombe esiyisicaba siseduze kakhulu nesithombe kunesithombe se-three-dimensional. Ngakho-ke i-photorealism empeleni i-photorealism, kodwa i-hyperrealism akufanele ibe yi-photorealism.
Izingcweti ezidumile ze-Hyperrealism
Phakathi kwabameleli abavelele balesi sitayela, kukhona abantu abaningi abathakazelisayo bokudala abahlala ezingxenyeni ezihlukene zomhlaba. Amanye amakhosi adume kakhulu we-hyperrealism afaka:
ron mueck ungumqophi wesimanje odume kakhulu we-hyper-realistic. Dala kalula izingoma ezincane nemisebenzi yobuciko emikhulu eyisikhumbuzo.
UGottfried Helnwein uyiciko lase-Ireland lendabuko yase-Austrian osethole ukuqashelwa emhlabeni wonke ngenxa yesikhundla sakhe senhlalo kanye nokuma okuhle komsebenzi wakhe emphakathini. Encwadini yakhe, uHelnwein uvame ukubhekisela endabeni yokuQothulwa Kwesizwe.
Bernard Torrens ungumdwebi waseSpain owaziwa ngezithombe zakhe ezinhle zamadoda nabesifazane abahlukaniswe nendawo yabo yemvelo. Okufanelekile ngomdwebi kwakuyi-Diego Velázquez futhi kuyohlale kungumlingane wakhe omkhulu
Jason deGraaf Uma ubona umsebenzi wakhe okokuqala, uzokuthola kunzima ukukholelwa ukuthi ukudweba. Imihlaba yakhe engokoqobo engokoqobo iyimibono eklanywe ngokucophelela edalwe ngemivimbo yebhulashi elithambile ukuze inikeze umbono wezithombe ezinokulungiswa okuphezulu.
UMarco Grassi Omunye umbhali ngesitayela se-hyperrealism, omisebenzi yakhe ehlaba umxhwele eqinisweni labo futhi ebangela abaningi ukuba babhekisise, ungumdwebi wase-Italy ovela eMilan. Imidwebo yakhe inemininingwane eminingi kangangokuthi inekhwalithi yezithombe ngempela.
Emmanuel I-Dascanio Ungomunye wabaculi besimanje abahamba phambili, umpetha weqiniso wesitayela se-hyper-realistic, imisebenzi yakhe igqama ngenxa yenkanuko yabo nokuba ngokoqobo.
Nazi ezinye izixhumanisi onentshisekelo kuzo: