绘画作为一种艺术形式存在于人类文明的历史长河中，在传统绘画方面，绘 画材料这一“物”一直以来充当着表现和反映客观对象的幕后角色而活跃在艺术 活动中。自 20 世纪以来，随着工业文明的飞速发展，以“物”作为艺术语言主 体的综合材料绘画逐渐登上历史舞台，艺术家们把目光聚焦在“物”这一媒介的 本体当中，由此开启了由艺术材料到材料艺术的转变。综合材料中“物”创造性 的使用拓展了作品的表现力、想象力和感染力，将各种材料的特性充分发挥出来。 与此同时，更多的艺术家由再现客观世界转变到内在心理的主观再现。 材料作为综合材料绘画的一种主体语言，承载着材料本身的物性与艺术家的 思想观念。再现性则在艺术创作中占据着重要的地位，材料的再现性，不是通过 材料作为绘画媒介而制造出的外部世界的影像发挥作用，而是通过原物体现再现 性。本文将通过综合材料中“物”的三个部分来讨论“物”的再现性，第一部分 通过奥尔巴赫和波洛克讲述绘画颜料的物性再现;第二部分论述综合材料“物” 这一媒介承载的精神指向、时代精神和文化内涵等方面的主观再现性;第三部分 以埃利亚松为例把观者作为“物”融入到创作中的再现，以及观者面对同一物所 引发的不同再现，最后艺术家通过个人风格再现于世等方面的再现延伸。

Painting, as an art form, has existed in the long history of human civilization. In traditional painting, the material of painting has always been active in artistic activities as a backstage role in expressing and reflecting objective objects. Since the 20th century, with the rapid development of industrial civilization, comprehensive material painting with "objects" as the main body of artistic language has gradually emerged on the historical stage. Artists have focused their attention on the essence of "objects" as a medium, thus initiating the transformation from artistic materials to material art. The creative use of "objects" in comprehensive materials expands the expressive, imaginative, and infectious power of the work, fully unleashing the characteristics of various materials. At the same time, more artists are shifting from represent the objective world to subjectively represent their inner psychology. As a subject language of comprehensive material painting, materials carry the material properties of the material itself and the artist's ideological concepts. Representation plays an important role in artistic creation. The representation of materials is not achieved through the use of materials as a medium for painting to create images of the external world, but through the representation of the original object. This article will discuss the representation of "Objects" by synthesizing the three parts of "Objects" in the materials. The first part will discuss the representation of the physical properties of painting pigments through Orbach and Pollock; The second part discusses the subjective representation of the spiritual direction, era spirit, and cultural connotation carried by the medium of comprehensive material "Objects"; The third part takes Eliasson as an example to integrate the viewer as an "object" into the representation of the creation, as well as the different representation caused by the viewer facing the same object. Finally, the artist extends the representation through personal style to the world.