鲍德里亚在《拟像与仿真》中描述到：“指涉物在符号系统中被人为的复活，一种 比意义还要容易被塑造之物，这是一个关于真实之符号代替真实的问题。[1]”我们进 入了网络的时代，于虚拟的数字信号之中制造的生成的图像，借助屏幕—无数肉眼不 可见的晶体管通过排列的方式组成的作用于人眼的机械装置显示图像，他们取代了基 于银盐反应而逐渐揭示取得的物质照片，摄影镜头的存在则可以把光学图像转化为数 码图像，不可见的信号成为新的介质，单位为“算力”。由此虚拟世界联通现实世界吸 收，制造，传播图像的能力达到了新的高度。 本文试图从绘画形式的角度分析在上述这种情况下作为艺术家吕克·图伊曼斯如 何在绘画中使用模仿的策略给予回应，从他的题材选取，工作方法，到绘画作品的图 式效果。在上述的很多情况中绘画作为图像对于这些多作用于视觉的电子媒介，数字 媒介的回应以及探索就有别于传统的风格化概念了，其表面形式看来同样是类似于印 象派的“视网膜的游戏”，但在当代艺术的环境下这种“游戏”可以从更丰富的视角观 看与解读，所以本文将会把着重点放在吕克·图伊曼斯成熟时期直到今天的绘画中的 “像素化”效果上，“像素化”这个词语更多的是一种与互联网相关的概念，本文试图 戴上“有色眼镜”以今天媒介信息更为复杂的角度来看待吕克·图伊曼斯的绘画，对 吕克·图伊曼斯的“像素化”绘画风格进行分析，试图整理图伊曼斯绘画作品的这种 效果与上述传播媒介之间的关系，然后把这种图式以及图式关系作为一个坐标系，引 出吕克·图伊曼斯的“像素化”绘画风格与当下一些新的绘画的图式风格的关系，讨 论这些绘画方式的观看与理解方式。

Baudrillard describes in Simulacra and Simulation: "The artificial resurrection of the referent in the system of signs, something that is more easily shaped than meaning, is a question of the sign of the real in place of the real." We have entered the era of the network, the generated images produced in the virtual digital signal, with the help of the screen - countless invisible transistors through the arrangement of the way to act on the human eye to display images, they replace the silver salt reaction based on the gradual revelation of material photographs, the existence of photographic lenses can convert optical images into digital images, The invisible signal becomes the new medium, and the unit is "computing power". The ability of the virtual world to connect with the real world to absorb, produce and transmit images has reached new heights. This paper attempts to analyze from the perspective of painting form how Luc Tuymans, an artist, responds to this situation with the strategy of imitation in painting, from his subject matter selection, working methods, to the schematic effect of his paintings. In many of the above cases, the response and exploration of painting as an image to these electronic media and digital media that mostly affect vision are different from traditional stylized concepts. Its surface form seems to be similar to Impressionist's "retina game", but in the context of contemporary art, such "game" can be viewed and interpreted from a richer perspective. Therefore, this paper will focus on the effect of "pixelation" in Luc Tuymans' paintings from his mature period to today. The term "pixelation" is more of a concept related to the Internet. This paper tries to put on "colored glasses" and view Luc Tuymans' paintings from a more complex perspective of today's media information. This paper analyzes Luc Tuymans' "pixelated" painting style, tries to sort out the relationship between the effect of Tuymans' painting works and the above media, and then takes this schema and schema relationship as a coordinate system to draw out the relationship between Luc Tuymans' "pixelated" painting style and some current new painting schema styles. Discuss the ways of viewing and understanding these painting styles.