不是之是—从“意派”看中国传统美学的当代转化

发布时间：2018-10-21 19:49

【摘要】：上世纪八十年代,随着国门打开,世界各种艺术思潮也涌入国内,一时间,国内的艺术领域出现了诸多出色的艺术作品。“八五”之后,更是有大量西方的前卫的艺术思潮、概念和形式涌入国门,艺术家和艺术爱好者们讯速地吸收了这些养分,催生出了许多优秀的当代作品。然而艺术理论方面,仍旧是“西为东用”,始终无法摆脱西方分裂型二元的思维模式。对于“西学东渐”,在西方美学概念占有主要话语权的当下,中国传统美学受到西方美学概念和中国当代艺术的双重压力,越来越力不从心,渐渐地“失语”,向边缘地带游走,这很遗憾。时至今日,中国当代艺术正以自己的特色和轨迹蓬勃发展,一种“不是之是”的独特思维和感受总是出现在中国当代艺术的优秀艺术作品中。在中国当代艺术的大背景下,前文已经提到中国传统美学已经在中国当代艺术的大环境下有“失语”之患,中国传统美学将何去何从?所以,中国传统美学的当代转化就显得势在必行,也十分重要。我们可以透过中国当代艺术理论中最具有影响力之一的“意派”来谈谈中国传统美学的转型。如果在西方二元对立的基础上来看待、评论中国的当下语境中的当代艺术,总感觉言不尽意,不能说出其中微妙的、观者与作者契合的关键。那么,解读中国的当代艺术,特别是以东方的思维或方式呈现的艺术类型,一种不同于甚至超越于西方二元对立的、非线性的、能够解读艺术家的语意和语境的评论体系就显得顺理成章且尤为重要。本文探索从“道”至“象”,由“象”至“意象”,由“意象”至“意境”再至“意派”的提出,在这个过程中,中国传统美学中各个时代都存在“意”与“意”的变体或者表征,这些“整”“一”的“意”,恰是中国传统美学的内核精神,笔者认为“意派”缓和了解读与中国传统形式类似或者体现了某些东方思想的艺术形式时生硬挪用、无法与作者意图契合的尴尬。作为一种“新的叙事方法的理论”以及“视觉艺术美学”,“意派”理论的建立对中国传统美学的当代转化提供了新的可能性,也为中国的艺术评论打开了新的视角。
[Abstract]:In the eighties of last century, with the opening of the country, various trends of thought of art in the world also poured into the country. At one time, many outstanding works of art appeared in the field of art in our country. After the eighth Five-Year Plan, a large number of western avant-garde art trends, concepts and forms poured into the country, artists and art lovers quickly absorbed these nutrients, resulting in many excellent contemporary works. However, the art theory is still "the West for the East", always unable to get rid of the Western split dual mode of thinking. As for the "Western learning to the east", at a time when the western aesthetic concept holds the main right of speech, the Chinese traditional aesthetics is under the double pressure of the western aesthetic concept and the Chinese contemporary art, and is becoming more and more powerless and gradually "aphasia". It's a pity to swim to the edge. Up to now, Chinese contemporary art is developing vigorously with its own characteristics and track. A unique thinking and feeling of "not is" always appears in the excellent works of Chinese contemporary art. Under the background of Chinese contemporary art, it has been mentioned that Chinese traditional aesthetics has been suffering from "aphasia" in the general environment of Chinese contemporary art. Where will Chinese traditional aesthetics go? Therefore, the contemporary transformation of Chinese traditional aesthetics is imperative and very important. We can talk about the transformation of Chinese traditional aesthetics through one of the most influential theories of Chinese contemporary art. If we look at it on the basis of the dualistic opposition in the West, it is always felt that the Chinese contemporary art in the present context of China is not full of meaning and can not say the key to the agreement between the viewer and the author. Well, the interpretation of Chinese contemporary art, especially the type of art presented in an oriental way of thinking or mode, is a non-linear one that is different from or even beyond the dualistic opposition in the West. The commentary system which can interpret the artist's meaning and context is logical and important. This paper explores the proposition from "Tao" to "image", from "image" to "artistic conception" to "idealism". There are variations or representations of "meaning" and "meaning" in every era of Chinese traditional aesthetics. These "whole" and "one" meaning "are precisely the core spirit of Chinese traditional aesthetics. The author thinks that the "Yi School" alleviates the embarrassment that the interpretation is similar to the traditional form of China or reflects the artistic form of some oriental thoughts, which can not coincide with the author's intention. As a "theory of new narrative method" and "visual art aesthetics", the establishment of "Italy School" provides a new possibility for the contemporary transformation of Chinese traditional aesthetics, and also opens a new perspective for Chinese art criticism.
【学位授予单位】：大连工业大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J05

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