从《莎乐美》看比亚兹莱

发布时间：2018-06-03 11:46

本文选题：比亚兹莱 + 莎乐美　；参考：《四川美术学院》2017年硕士论文

【摘要】：比亚兹莱的艺术生涯虽然短暂,但却是极赋影响力的。他很好的揉和了唯美主义的颓废情绪和象征主义对于内在认知的表达,并且采众家之长,却又不失自我,画面总体充满了对维多利亚旧时代旧道德的讽刺,也是对即将到来的新世纪现代性与先锋性的完美演绎。特别是作为一位细腻敏感的画家,同所有时代的艺术家一样,赋予绘画的魔力是无法一言以蔽之的,他那些饱含情感的线条和黑白的韵律所传达的感染力确是难以言表的。比亚兹莱的艺术价值不止体现在外在线条的舒畅与唯美,他作品深沉的思想性与时代先锋性,在当时乃至现在看来都是卓越的。如同十九世纪末的艺术家们,他们借现代主义之“醉”,用超越自然主义和现实主义理性的方式,把艺术演绎为迷醉的、颓废的、幻想的、色情的且挑衅的游戏。而象征、唯美、以及维也纳分离等画派,所组成的新的艺术运动也成为继浪漫主义之后的新生力量,他们寻觅着浪漫主义的根,并找回了一条可供自述的艺术之路,它们同根同源,且相互取暖,为现代艺术大门的打开做出了无限的努力。比亚兹莱艺术价值正如鲁迅在《比亚兹莱画选》中对其作品深刻的评价:“有时候他的作品达到了纯粹的美,但这是恶魔的美,而常有罪恶的自觉,罪恶首受美而变形又复被美所暴露。”而比亚兹莱作品的承载者,就是他形式美背后的那些丑化了的人物形象,小丑、中性人、潘神、赢弱的男人,当然,最多的就是女人和女性的身体。笔者希望通过比亚兹莱与王尔德珠联璧合之经典作品《莎乐美》来一斑窥豹,试探比亚兹莱唯美背后的现代性价值。对《莎乐美》的节选与解读中,吻所带来的瞬间快感,是引起非道德的审美体验的形式美感,是属于唯美主义的纯粹美范畴。而恋头癖这一疯狂举动,使狂躁症患者的变态爱恋变得极其具有侵略性。在死亡一章,唯美主义信仰酒神之“醉”,并抓紧了对短促人生的快感体验,直至激情与纵欲后的精尽人亡,美因此走到了极致。七面纱之舞暗示了女性身体是永恒肉欲的象征,而女性的致命诱惑,在比亚兹莱的世界里是矛盾的主体,冲突在于俄狄浦斯情节和对权利女性的恐慌,在于旧道德对女性的要求与新兴开放女性的矛盾。而最后的梳妆,是十九世纪末女性身体再次被观看,并公然成为色情这一具有永久性的符号,同样也暴露了比亚兹莱绘画里的色情隐喻与暗示。现代艺术的先锋性之一就是对新的可能的接纳,这包括对色情、隐喻、抽象、丑态、变态,和时间性等,而这一切都使现代性向着更为自我和本能欲望迈进。同时比亚兹莱有这样一个绘画特点:无论是审美快感、女性身体还是色情暗喻等,都与女性有关,而“女人”这个特殊的母题,成为比亚兹莱众多图绘对象里具有代表性的中心人物。一方面是文本的需要,存在于故事里的女主角,另一方面,可能是潜存于画家内心表达需要的某个桥梁,或某个介质,而其又恰巧迎合了他内在的心理状况,即对女性这个生物的模糊与判断,渴求与排斥。所以,在比亚兹莱的绘画作品中,他不惜丑化女性,使女性具有主宰与邪恶的双重体验。女性,或者是具有女性倾向的人物,也都成为比亚兹莱借助发挥其艺术价值的深刻载体。恰恰也正是借由“女性”这一题材,承载了比亚兹莱艺术现代性的诸多要素:审美的瞬间快感、女性的主体意识、爱与本我的探究、渴望而又恐惧的女性身体、象征的暗喻与趣味、怪诞与丑、还有抽象性的黑白绘画语言。比亚兹莱为王尔德所做插图《莎乐美》,是简短的一套黑白图绘作品,但更多的带有讽刺和攻击性,这是一种深刻的艺术性批判,借着世纪末的颓废情调和家探寻新的艺术奥秘提供了有效途径。于笔者而言,对比亚兹莱的研究,愿望在于最大程度的剖析艺术家作品是如何回应时代要求,在多大程度上体现艺术史变革的意志,和其自身不可回避的先锋性特质,这些才是笔者认为传统意义上的比氏黑白世界的精神架构。比亚兹莱艺术中的丑,也给予当下艺术以启示。笔者认为,当代艺术的丑态相对于“丑”的艺术,一方面缺少了对“丑”的态度,丑,并未准确而有力地展现其对抗性;另一方面,当代艺术表现出的消极与被动,努力阐释“美”却适得其反,多数沉沦为真正的丑与不堪入目。如果说这是艺术语言矫枉过程的一个阶段,那当代艺术是丑的。是因为比亚兹莱的丑,才影响着当代社会美的砥砺前行。
[Abstract]:Although his artistic career is short, it is very influential. He is very good for the decadent mood of aestheticism and the expression of symbolism to inner cognition, and the length of the house, but not self. The picture is full of the irony of the old morality of the old age of Vitoria, and the new century coming. The perfect deduction of modernity and Avantgarde. Especially as a delicate and sensitive painter, like all artists of all ages, the magic of painting is indescribable, and the appeal of his emotional lines and black and white rhythms is indescribable. In the smooth and aesthetical lines of the lines, his deep thinking and the avantgarde of the times are remarkable at that time and even now. As the artists of the late nineteenth Century, they borrowed the modernism "drunken" to deduct art into intoxication, decadent, fantasy, and pornography in the way of surpassing naturalism and realism. And the game of provocative, and the symbol, the aestheticism, and the separation of the Vienna, the new art movement formed as a new force following the romanticism. They seek the roots of romanticism and find a way for the art of self retelling. They are homologous and warm each other for the opening of the gate of modern art. The value of the art of infinity is like Lu Xun's profound evaluation of his works in the selection of the painting of the bill: "sometimes his works reach pure beauty, but this is the beauty of the devil, and it is always guilty of evil consciousness, the first of evil is deformed and exposed to beauty." The ugly personage image, the clown, the neutral man, the pan God, the weak man, of course, the most is the woman and the woman's body. I hope to see the modern value behind the beauty of the aesthezi through the classic "Salome" and Wilde. In the interpretation, the instant pleasure brought by the kiss is the form beauty that causes the unethical aesthetic experience and the purely aesthetic category of aestheticism. The crazy behavior of the fetish makes the abnormal love of the manic patients extremely aggressive. In the chapter of death, the aestheticism believes in the "drunken" of the Dionysus and grasped the short people. The seven veil dance suggests that the female body is the symbol of eternal flesh, and the deadly temptation of women is the main body of contradiction in the world of the Oedipus. The conflict lies in the Oedipus Festival and the panic on the right women, and the old morality is to the women. In the end of the nineteenth Century, the woman's body was seen again, and the final dress was a permanent symbol of pornography. It also revealed the pornographic metaphor and hint in the painting of Bi. One of the pioneers of modern art was the acceptance of new possibilities, which included color. Love, metaphor, abstraction, ugliness, metamorphosis, and timeliness, all of which make modern sexuality a more self - and instinctive desire. The representative central figure in the drawing object. On the one hand, it is the need of the text, the heroine in the story, and on the other hand, it may be a bridge, or a medium that the painter expresses the needs of the painter, and it just caters to his inner psychological condition, that is, the vagueness and judgment of the woman, the desire and the rejection. So, in his paintings, he does not hesitate to vilify women and make women have a double experience of domination and evil. Women, or women with women's tendencies, have become a profound carrier of his artistic value. There are many elements of the generation: the instant pleasure of beauty, the subjective consciousness of women, the inquiry of love and the nature, the feminine body of desire and fear, the metaphor and interest, the grotesque and the ugliness, and the abstract black and white painting language. Ironical and offensive, this is a profound artistic critique which provides an effective way for the decadence of the century and the search for new art mysteries. In the case of the author, the desire to compare the study of ASLE is to the maximum analysis of how the works of the artist respond to the demands of the times and to what extent the changes in the art history are reflected. The will, and its own avant-garde characteristics, are the spiritual structure of the black and white world in the traditional sense. The ugliness in the art of the art is also enlighten to the present art. On the other hand, the negative and passive expression of the contemporary art is negative and passive, and the effort to interpret "beauty" is counterproductive. Most of them fall into real ugly and unpleasant. If this is a stage of the process of artistic language correction, the contemporary art is ugly. It is the ugliness of the Uzi, which affects the present age. The strength of the beauty of society goes forward.
【学位授予单位】：四川美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J205

【参考文献】