波洛克与徐渭艺术审美形式的链接

发布时间：2018-02-15 20:51

本文关键词： 波洛克徐渭内在形式外在形式现代书法　出处：《河北师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：波洛克是20世纪50年代西方抽现主义代表人物,徐渭是中国明末家喻户晓的书法家,两位在中外艺术史上都具有重要的影响力。目前,已经有非常多的论作和影像书籍分别赞颂过他们的艺术人生和艺术成就。但是单就他们审美形式方面的论述,特别是对他们审美形式的关联研究至今还不多见。本文运用对比分析法,详尽分析波洛克与徐渭内在形式与外在形式的联系,然后根据审美形式的相通性和差异性启发现代书法的创作。本文分为四个章节论述。第一章叙述了波洛克与徐渭审美形式的形成过程。在他们作品中所体现的“表现”形式并不是与生俱来的,都是在大的艺术环境影响下,总结前人经验的基础上,结合自身实际情况,最终形成的形式表现。第二章论述二者审美形式链接。艺术形式主要由两部分组成,一部分是内在形式,另一部分是外在形式。内在形式主要以主观为主,波洛克和徐渭的成长过程并非一帆风顺,动荡与挫折造就他们孤僻的性格,外来因素的干扰又让他们试图反抗种种不公,这也直接影响他们艺术形式的文化基础。首先在哲学理论上他们会更倾向于禅宗思想,因为禅宗的主旨就主张冲破黑暗枷锁,提倡个性解放。其次在艺术思想上他们都主张艺术表现要顺从内心,张扬个性。内在审美形式选择决定了外在表现形式。因此,“有意味的形式”成为他们共同的外在形式手段。又因为线条和空间是外在形式的两个构成要素,所以在本节中结合两位艺术家具体作品,详尽阐释了线条中的立体感、节奏感和情感以及空间中的层次感、空间感。第三章主要比较二者审美形式不同。波洛克与徐渭所处不同文化背景和不同时代,他们从事的也是不同门类的艺术,尽管审美形式存在共通性,相对而言也会存在差异性。在这里主要是通过外在形式说明,虽然同为抽象性的艺术但在本质上却有很大区别。书法抽象性主要体现在手法上,但是它必须遵循以文字为基础的本质规律,同时书法艺术还兼具着传承文化的功能。而西方抽象主义不仅表现手法抽象,在内容上也不受任何形制制约,一切都是为了形式而存在。在空间的表现上书法相较西方抽象主义艺术还多了一种时间特性。第四章总结西方抽象主义对当代书法的影响。论述波洛克与徐渭审美形式的共通性和差异性是为了说明在中西方艺术激烈的碰撞下,当代书法艺术应该获得哪些启发以及我们如何洋为中用,古为今用,在理论上为当代书法创作开创一条新的途径。总体而言,笔者希望通过本文使青年艺术家们意识到艺术无国界,艺术无定法。一切艺术门类的存在及其形式表达都是合理的。我们要做的不是无知的批判、盲目的排斥,也不是毫无原则的接受,而是需要辩证地看待二者之间的问题。这样有助于传承经典和创新发展,以此来推动书法艺术的发展。
[Abstract]:In 1950s, Pollock was a representative figure of western excursionism. Xu Wei was a well-known calligrapher in the late Ming Dynasty and both had important influence in the history of Chinese and foreign art. There have been a lot of works and video books that celebrate their artistic life and their artistic achievements, but in terms of their aesthetic form alone, In particular, there are few studies on the relationship between their aesthetic forms. This paper makes a detailed analysis of the relationship between the internal and external forms of Pollock and Xu Wei by means of comparative analysis. Then, according to the similarities and differences of aesthetic forms, it enlightens the creation of modern calligraphy. This paper is divided into four chapters. The first chapter describes the forming process of Pollock and Xu Wei's aesthetic forms. The expression "form" is not innate, Under the influence of great artistic environment, on the basis of summing up the predecessors' experience and combining with the actual situation of their own, the final form performance is formed. The second chapter discusses the aesthetic form link between them. The art form is mainly composed of two parts. Part of it is internal form, the other part is external form. Internal form is mainly subjective. Pollock and Xu Wei's growth process was not smooth, and turbulence and frustration created their isolated character. The interference of external factors makes them try to resist all kinds of injustice, which directly affects the cultural basis of their artistic form. First of all, they tend to be more inclined to Zen thought in philosophical theory, because the purport of Zen is to break through the chains of darkness. Second, they all advocate that artistic expression should be obedient to the heart in artistic thought. The choice of internal aesthetic form determines the external form of expression. Therefore, "meaningful form" becomes their common external means of form, and because lines and space are two constituent elements of external form, So in this section, combined with the concrete works of the two artists, it explains in detail the sense of three-dimensional, rhythm and emotion in the line, as well as the sense of hierarchy in the space. The third chapter mainly compares the two aesthetic forms. Pollock and Xu Wei live in different cultural backgrounds and different times, they also engage in different kinds of art, although aesthetic forms are common. Relatively speaking, there will also be differences. Here, mainly through external forms, although the same art is abstract, but in essence, there is a great difference. The abstract nature of calligraphy is mainly reflected in the technique. But it must follow the essential law based on words, while calligraphy art also has the function of inheriting culture. Western abstractism is not only abstract in expression, but also not restricted by any form in content. All exist for form. Calligraphy has a more time characteristic than western abstract art in space. Chapter 4th summarizes the influence of western abstractism on contemporary calligraphy. Discusses Pollock and Xu Wei. The commonality and difference of American forms is to show that under the fierce collision of Chinese and Western art, What should be inspired by contemporary calligraphy art and how we can make use of the foreign language, the past and the present? in theory, we can open up a new way for the creation of contemporary calligraphy. The author hopes to make young artists realize that art has no national boundaries and art has no definite law. All kinds of art and their forms of expression are reasonable. What we want to do is not to criticize ignorance and reject blindly. It is not an acceptance without principle, but a dialectical view of the problems between the two, which is helpful for the inheritance of classics and the development of innovation, thus promoting the development of calligraphy art.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J292.1

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