巴黎画派中的东方情韵—常玉与藤田嗣治绘画风格对比

发布时间：2018-12-11 23:22

【摘要】：如果要说西方艺术史上最独特的艺术流派,就非巴黎画派莫属了。因为它指的并不是传统意义上的一个艺术流派,而是说从二十世纪初期到中期,活跃于巴黎蒙马特、蒙帕纳斯的艺术家形成的一种绘画艺术活动。画派的艺术家有着自己风格的追求,始终坚持着自我,只因某段时间同处巴黎,这座当时的世界艺术中心,而被统称为“巴黎画派”。其中不乏东方面孔——常玉、藤田嗣治。常玉的绘画受中国传统绘画和西方现代文化的双重影响,形成了自己独特的“常玉”风格。在他的画面中,我们既能看到传统文人画的精神内涵,又能发现西方现代主义的象征与荒诞。他的创作理念来自于自身所独有的孤傲、追求自由的气质。简练的画面、夸张的形态、典雅而清新的色彩,中国书法笔墨的概括力与神韵与西方现代绘画的表现力、力度融合为一体。既把握住了中国美学的含蓄内敛,又能感受到西方美学其中的夸张外放。中西文化因素在他的画面上自然交融,回味悠长。藤田嗣治开创了独特的融合水墨韵味的油画形式,注重以情绪化的直觉经营画面,追求视觉美感和工艺精致。极具现代感,简洁明了,带有明显的东方绘画特征。他没有盲目的跟随当时的欧洲现代艺术潮流,并不惜回归传统,他的画面颜色清新淡雅,很少使用艳丽的颜色。纤细的线描将日本画的平面性与油画的写实性相结合,才创造出了令欧洲艺术界瞩目的东方风格。打破了“日本画“与”洋画”之间的鸿沟,以“绝妙的乳白色征服了”响誉巴黎艺坛。藤田嗣治也成为了极少数能够响誉世界美术史的亚洲画家。虽然常玉和藤田嗣治来自于不同的国家及有着不同的文化背景与经历。但是他们都是来自东方且极具才气、并生活在巴黎的艺术家,在巴黎的不同境遇,面对东西方文化的冲突以及对自身身份认同问题的思考,两人在创作中对东方与西方艺术的的探索和融合,使他们两人的绘画语言和形式上产生了很多共鸣。尤其是他们绘画作品给中产生的共通性。如何使中西方绘画能够很好的融合与互补,传统绘画语言如何在当代语境下进行转变,这将是每一个作为中国艺术家所需要思考与探讨的。
[Abstract]:If we want to say the most unique art school in the history of western art, it is Paris school. Because it refers not to an art school in the traditional sense, but rather to a painting art activity formed by the artists active in Montmartre, Montparnasse, from the early to the middle of the twentieth century. Painting artists have their own style of pursuit, always adhere to self, just because of a certain period of time in Paris, this world art center, and is called "Paris painting school." Among them there is no lack of oriental faces-Ivy, Fujita Siji. Changyu's painting is influenced by Chinese traditional painting and western modern culture, forming his own unique Changyu style. In his paintings, we can not only see the spiritual connotation of traditional literati paintings, but also find the symbolism and absurdity of western modernism. His creative ideas come from his own unique solitude and the pursuit of freedom. Concise picture, exaggerated form, elegant and fresh color, the generalization and charm of Chinese calligraphy and ink and the expressive power of western modern painting are integrated. It not only grasps the implicature of Chinese aesthetics, but also feels the exaggeration of western aesthetics. Chinese and Western cultural factors in his picture naturally blend, long aftertaste. Fujita has created a unique oil painting form that integrates the charm of ink and water, focusing on the emotional intuitive management of the picture, the pursuit of visual beauty and exquisite craft. Very modern, concise and clear, with obvious characteristics of Oriental painting. He did not blindly follow the trend of modern European art, and did not hesitate to return to tradition, his picture color fresh and elegant, rarely use brilliant colors. The fine line drawing combines the plane of Japanese painting and the realism of oil painting to create the oriental style that attracts the attention of European art circles. It breaks the gap between Japanese painting and foreign painting, and conquers the art world of Paris with excellent milky white. Fujita has also become one of the few Asian painters who have a reputation for world art history. Although Ivy and Fujita come from different countries and have different cultural backgrounds and experiences. But they are artists from the East and very talented, and who live in Paris, in different situations in Paris, in the face of cultural conflicts between the East and the West, and in thinking about their identity. The exploration and amalgamation of eastern and western art in their creation resonated with each other in their painting language and form. Especially the commonality of their paintings. How to make Chinese and western painting merge and complement each other and how to change the traditional painting language in the contemporary context will be what every Chinese artist needs to think about and discuss.
【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

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