东山魁夷绘画美学思想研究

发布时间：2018-02-10 05:47

本文关键词： 东山魁夷绘画美学自然美形式物哀　出处：《西南大学》2011年博士论文　论文类型：学位论文

【摘要】：从美术学的角度研究东山魁夷的绘画作品,几乎成为一种定式。事实上,综观东山魁夷的绘画与散文,于画文中流露出的美学思想,几乎被人们忽视。东山魁夷的绘画美学思想主要表现在四个方面：自然美意识、形式美思想、“物哀”美意识与禅宗美学思想、水墨艺术精神。在自然美意识方面,东山魁夷的绘画美学思想强调亲近自然,正确地把握自然,顺从自然,回归自然,自然与自我融为一体的自然观照,这种观念与中国的“天人合一”的自然观必须体现“道”的观念有所不同,是一种先天的、本原的亲和。与西方所崇尚的人要驾驭自然、征服自然更有着根本的区别。东山魁夷青年时期留学德国,受到西方形式美学思想的影响,他的所有绘画都非常注重形式。其形式美思想来源于西方的形式美思想,即把贝尔关于艺术的形式美理论运用到了具体的绘画创作中。在东山魁夷的作品中,线条、色彩以某种特殊方式组成某种形式或形式间的关系,激起我们审美感情。这种线、色的关系和组合,这些审美的感人的形式,就是“有意味的形式”。东山魁夷的绘画美学思想还体现出“物哀”美意识与禅宗美学思想。其绘画作品中蕴含空寂、幽玄的意境。与中国绘画注重理性的了悟不同,日本绘画给人亲昵感觉,长于表现对自然的无常与哀感。如果说以表现自然为题材的中国山水画是一种体道性艺术的话,那么作为描绘自然的风景画在东山魁夷的笔下则是一种风雅性艺术。这种风雅性艺术的文化内核就是“物哀”与禅意。作为东山魁夷的艺术归宿,水墨画成了他晚年艺术的全部。从“真的山水”到“行的山水”,东山魁夷的水墨艺术既是一种“风雅性”艺术,也是一种“体道性”艺术。他的水墨艺术具有幽雅、高雅的风格特征,也追求“天人合一”的中国艺术精神。可以说,东山魁夷孜孜不倦地追求日本民族的美,从憧憬西方,再眺望日本,从先倾斜一方,再寻求平衡。他的艺术既是西方的,更是日本的,但最终的艺术指向却是中国的,这就是东山魁夷的艺术生涯,也是其美学思想的变化历程。
[Abstract]:The study of Higashiyama Kai's paintings from the perspective of art has almost become a formality. In fact, a comprehensive view of Higashiyama Kai's paintings and prose reveals aesthetic thoughts in painting and writing. Higashiyama Kai's aesthetic thought of painting is mainly manifested in four aspects: the consciousness of natural beauty, the thought of formal beauty, the aesthetic consciousness of "object mourning" and the aesthetic thought of Zen sect, and the spirit of ink and wash art. In the aspect of the consciousness of natural beauty, Higashiyama Kai's aesthetic thought of painting emphasizes the view of being close to nature, grasping nature correctly, obeying nature, returning to nature, and merging nature with self. This concept is different from that of "Tao" in China's "harmony between nature and man". It is a kind of innate and original affinity, and it is more fundamentally different from the western people who want to control nature and conquer nature. Under the influence of western formal aesthetics, Higashiyama Kai studied in Germany in his youth. All his paintings paid much attention to form. That is to say, Bell's theory of formal beauty of art is applied to the concrete painting creation. In Higashiyama Kai's works, lines and colors form a certain form or relationship in a special way, arousing our aesthetic feelings. The relationship and combination of color, these aesthetic touching forms, is the "meaningful form." Higashiyama Kai's aesthetic thought of painting also embodies the aesthetic consciousness of "object mourning" and the aesthetic thought of Zen sect. There is an empty and mysterious artistic conception in his painting works. Different from the Chinese painting's attention to rational understanding, Japanese painting gives people a feeling of intimacy. Good at expressing impermanence and sorrow to nature. If the Chinese landscape painting with the theme of expressing nature is a kind of style and Taoism art, As a natural landscape painting, Higashiyama Kai's painting is a kind of elegant art, the cultural core of this elegant art is "object mourning" and Zen. As the home of Higashiyama Kai's art, ink painting became the whole of his later art. From "real landscape" to "walking landscape", Higashiyama Kai's ink painting art is not only a kind of "elegant" art. It is also a kind of "body and morality" art. His ink and wash art has the characteristics of elegant and elegant style, and it also pursues the spirit of Chinese art of "the unity of nature and man". It can be said that Higashiyama Kai diligently pursued the beauty of the Japanese nation and looked forward to the West. Looking at Japan again, from the first to the side, then to seek balance. His art is not only Western, but also Japanese, but the final point of art is China, this is Higashiyama Kai's career in art, but also the course of the change of his aesthetic thought.
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2011
【分类号】：J201

【引证文献】