生命形式理论在水彩艺术中的表现性研究

发布时间：2018-11-16 12:55

【摘要】：艺术一直都是人类精神体验及社会实践的创造物,而被创造的艺术品又以其丰富的表现形式和内在的精神丰富着人们的情感体验,滋养着人们的心灵,同时艺术品也在被否定与否定之否定中波浪式前进,螺旋式上升着。历史上出现的优秀的艺术品,丰富多样、琳琅满目始终都表现出了人类的真实情感和智慧的高度,并且优秀的艺术作品可以深化人类对世界的认识与理解。艺术家们长期以来也隐隐约约的感觉到,艺术品与人类自身有着某种内在的联系与映照,经常会用“有生命力的”、“活生生的”、“会呼吸的”等等一系列与生命息息相关的形容词来形容一些优秀的艺术作品,并且哲学家们也提及了很多相关的理论。恩斯特·卡希尔与苏珊·朗格的“生命形式”艺术理论就是对西方传统艺术中的“有机论”以及“生命论”的升华与总结。80年代初他们的理论传入中国,并引起学术界的关注,并且这一理论与中国传统艺术理论中的生命精神论具有很多共通之处。本文作者基于这一点,把中西方的生命形式论进行分层次对比研究,把他们的相似、相通之处加以整理,力图站在实践的角度探讨生命形式理论在水彩艺术中的具体体现。本文作者借鉴了恩格特·卡希尔与苏珊·朗格的生命形式理论框架并结合了中国艺术的生命精神理论,从有机整体性、情感表现性、运动性和节奏性、多样性、创造性几个特征入手,试图说明艺术作品与人的生命之间的相互联系,用生命形式的理论框架重新审视优秀的水彩艺术作品是怎样以活生生的精神面貌来展现自己的,是如何通过它们的线条、色彩、节奏等等来体现其生命的特征,艺术大师们又是如何使自己生命的与艺术作品形成观照使其水彩艺术作品如注入血液一般具有生命的活力的。本文最后提出了优秀的水彩艺术应具有生长性,并且把生长性看做是水彩艺术具有生命力的最突出的特征,同时提出水彩艺术发展的艺术理想是具有生命形式的水彩艺术。本文试图用中西结合的生命形式艺术理论来丰富水彩艺术的理论,希望对水彩工作者有所帮助,同时也希望能为水彩艺术批评的理论体系注入新的活力。
[Abstract]:Art has always been the creation of human spiritual experience and social practice, and the art created has enriched people's emotional experience with its rich forms of expression and inner spirit, and nurtured people's hearts and minds. At the same time, art is also in the negation and negation of the wave-like advance, spiral rising. The outstanding works of art that appear in history are rich and diverse, which always show the true emotion and wisdom of human beings, and excellent works of art can deepen the understanding and understanding of the world. Artists have long felt vaguely that works of art and human beings have a certain internal connection and reflection, often using "living", "living", "breathable" and so on a series of life-related adjectives to describe some of the best works of art, and philosophers also mentioned a lot of related theories. Ernst Cahill and Susan Langge's "life form" art theory is the sublimation and summary of the "organic theory" and "life theory" in the western traditional art. Their theory was introduced into China in the early 1980s. This theory has much in common with the theory of life spirit in Chinese traditional art theory. Based on this point, the author makes a comparative study of the life form theory in China and the West, collates their similarities and similarities, and tries to discuss the concrete embodiment of life form theory in watercolor art from the point of view of practice. The author of this paper draws lessons from the framework of life form theory of Ngert Cahill and Susan Langer and combines the life spirit theory of Chinese art from organic integrity, emotional expressiveness, movement and rhythm, diversity, etc. Starting with several creative characteristics, this paper tries to explain the interrelation between works of art and human life, and to re-examine how the excellent watercolor works of art show themselves in a living spirit with the theoretical framework of life form. How to reflect the characteristics of their life through their lines, colors, rhythms and so on, and how the masters of art form their own life and artistic works to make their watercolor art works such as injecting blood with the vitality of life. At the end of this paper, the author puts forward that the outstanding watercolor art should have the growth, and regard the growth as the most prominent characteristic of the watercolor art with vitality, and at the same time, it points out that the artistic ideal of the watercolor art development is the watercolor art with the life form. This paper attempts to enrich the theory of watercolor art with the combination of Chinese and Western life form art theory, hoping to help watercolor workers, but also hope to inject new vitality into the theoretical system of watercolor art criticism.
【学位授予单位】：沈阳师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J215

【共引文献】