毕加索的立体主义拼贴是一种将异质元素 (“现成”彩纸、印刷文本等) 粘贴到画布上的混合作品, 且其中的“粘贴”和“绘画”两种元素各自成立、相得益彰。目前, 国内外毕加索立体主义拼贴研究与媒介理论相关专著相当丰富, 以20世纪学者将艺术史与媒介理论进行过联系的前提来看, 麦克卢汉与艺术史结合讨论的研究材料也较为充实。然而, 从“拼贴作为一种艺术创作手法”这一视角出发, 单纯地分析它的运作机制和原因, 讨论其如何影响了毕加索拼贴作品中对异质元素的统合, 这类研究相对较少。因此, 本文首先从早期的评论家到现代学者的不同视角中, 回顾了立体主义拼贴的艺术史研究简史, 然后简要梳理了麦克卢汉有关立体主义和毕加索的观点, 并借助实例深入探究其意义。基于该媒介理论视角, 本文通过剖析毕加索立体主义拼贴中的两幅具体作品, 最终发掘出立体主义拼贴作为一种媒介的艺术价值———它不仅改变了艺术家的创作方式, 也影响了观众对世界的观察方式和感受, 为现代艺术的发展开辟了新的可能性。

Picasso' s Cubist collage is a kind of hybrid work in which heterogeneous elements (“ready-made” colored paper, printed text, etc. ) are pasted onto canvas, and the two elements of “paste” and “painting” are established and complement each other. At present, domestic and foreign Picasso' s Cubist collage research and media theory related monographs are quite abundant, and on the premise that scholars in the 20th century have connected art history and media theory, the research materials of McLuhan' s discussion with art history are also relatively abundant. However, from the perspective of “collage as a technique of artistic creation”, there are relatively few studies that purely analyze its operation mechanism and reasons, and discuss how it influences the integration of heterogeneous elements in Picasso' s collage works. Therefore, this paper firstly reviews a brief history of art historical research on Cubist collage from the different perspectives of early critics to modern scholars, and then briefly summarizes McLuhan' s views on Cubism and Picasso, and explores their significance in depth with the help of examples. Based on this media theory perspective, this paper analyzes two specific works in Picasso' s Cubist collage, and finally uncovers the artistic value of Cubist collage as a medium———it not only changes the artist' s way of creation, but also influences the audience' s way of observation and feeling of the world, and opens up a new possibilities.