空间线索化范式_简述绘画中西绘画空间范式论

  本文关键词：中西绘画空间范式论，，由笔耕文化传播整理发布。

预读:间范式也具有三种历史形态:传统绘画具象的觉象性空间范式、现代绘画抽象的觉象性空间范式和当代绘画多元的觉象性空间范式。最后,本论文基于中西绘画空间范式的比较探讨,试图以中国相对于西方绘画独特的空间“范式”这一新的视角和标准反思“究竟何为中国画”的长期论争,尝试性地提出了中国绘画的实质在于其“意象性”思维方简述绘画中西绘画空间范式论

论文中文摘要：当代中国绘画艺术正处在社会高速现代化和全球一体化的双重历史进展进程之中。现代化必定带来科技理性这一现代社会主导观念对传统艺术的不断侵蚀,全球化语境下的交流更是加剧了传统与现代、东方与西方的价值冲突,使中国绘画艺术陷入了前所未有的边缘化和迷惘境地:纵向上难以逾越传统绘画的历史逻辑,横向上难以冲破西方绘画的现代观念。这也成为摆在当代中国艺术界面前的一个难以突破的前提性重大不足。中国绘画革新的艰难在于既要摆脱“传统”的桎梏,同时还要冲出“西化”的樊笼。本论文认为,解决中国绘画的不足,就需要对中西绘画的艺术特质及其历史演进有一个互为参照系的比较和理解,才能在全球化语境下寻找未来进展的方向。由此,本论文将中西绘画艺术的内在价值观念个性与外在空间体现特质整合为中西绘画空间的不同范式,力图克服以往基于因果联系的探讨对中西绘画艺术特质整体性的割裂。通过比较探讨中西绘画“和而不同”的空间范式及其原因,探寻中国与西方绘画的会通之路。本论文第一次将“范式”作为核心概念和学术视角引入绘画艺术探讨领域,并首次创造性地提出了西方绘画的“觉象性”空间范式。基于绘画空间范式,本论文系统性地提出和具体论证了以下基本观点:绘画是空间观念的艺术化有着,而空间是以现实到抽象的观念。中西绘画空间体现的根本差别在于其范式,绘画空间范式具有历史和地域上的时空性。中国绘画是“意象性”空间范式,以主体生命的心性意境为追求,具有“画外空间”、“感性一元空间”和“动态空间”的范式特点;而西方绘画是“觉象性”空间范式,以主客二元的知性反映为取向,具有“画内空间”、“理性二元空间”和“静止空间”的范式特点。中国绘画的意象性空间范式具有三种历史形态:传统绘画前期工笔的意象性空间范式、传统绘画后期写意的意象性空间范式和现当代绘画多元的意象性空间范式;而西方绘画的觉象性空间范式也具有三种历史形态:传统绘画具象的觉象性空间范式、现代绘画抽象的觉象性空间范式和当代绘画多元的觉象性空间范式。最后,本论文基于中西绘画空间范式的比较探讨,试图以中国相对于西方绘画独特的空间“范式”这一新的视角和标准反思“究竟何为中国画”的长期论争,尝试性地提出了中国绘画的实质在于其“意象性”思维方式和价值追求,而不应局限于其体现手段和工具。中国绘画与西方绘画的会通之路在于:在精神审美层面秉承和弘扬中国绘画追求心性意境的审美取向,并在空间体现层面借鉴和融会西方知觉表象的多元方式和手段,以而推动中国绘画在全球化语境下的“范式”革新,实现对传统和西方的双重超越。

【English Abstract】 Nowadays, the Chinese art of painting has been in a condition where the society is modernizing and globapzing rapidly. The opinion that modernization must bring technical rationapty has been eroding the traditional art. Also, the communications under the globapzing language environment have intensified the value confpct between tradition and modern; east and west. It has made Chinese art of painting into an unprecedented circumstance of peripherization and befuddlement: it is hard to exceed the historic logic of traditional painting and hard to break through the modern opinion of western painting. It also becomes a precondition issue that is put forward to the modern Chinese art circles.The difficulty of Chinese painting’s innovation is to get rid of the shackle of tradition, at the same time, get out of the cage of westernization. The author bepeves that to solve the problem of Chinese painting, we need to compare the specialty and history between Orient and West. Only if we understand it, can we find out the direction of the future development under this globapzing environment. So that in this essay, the author integrated the internal values of Chinese and Western painting and the exterior spatial expression into different paradigm of Chinese and Western painting to overcome the sppt which broke the globapty of Chinese and Western painting as what we used to do. Through the method of comparing the“unity without uniformity”, spatial paradigm between Chinese and Western painting and the reason of it to explore the common road of Chinese and Western painting under the condition of globapzation.It is the first time to use paradigm as the core concept and pterary view to be introduced to the painting field and also, the author creatively rise up the issue about the western painting’s“percepts”spatial paradigmTake painting space paradigm as the foundation, the author has developed and analyzed the idea that painting is the artistic being of the space idea, and space is the idea that has been dragged from reapty to abstract. The fundamental differences between Chinese and Western painting space is paradigm. Painting space paradigm has historic and geographic space-time nature.Chinese painting is“imagery”space paradigm. It pursues the disposition and artistic conception of subject of pfe. It has the paradigm characteristics such as“off-screen space”“perceptual unitary space”and“dy

  本文关键词：中西绘画空间范式论，由笔耕文化传播整理发布。