本文關(guān)鍵詞：中西繪畫空間范式論，，由筆耕文化傳播整理發(fā)布。

預(yù)讀:間范式也具有三種歷史形態(tài):傳統(tǒng)繪畫具象的覺象性空間范式、現(xiàn)代繪畫抽象的覺象性空間范式和當(dāng)代繪畫多元的覺象性空間范式。最后,本論文基于中西繪畫空間范式的比較探討,試圖以中國相對于西方繪畫獨特的空間“范式”這一新的視角和標(biāo)準(zhǔn)反思“究竟何為中國畫”的長期論爭,嘗試性地提出了中國繪畫的實質(zhì)在于其“意象性”思維方簡述繪畫中西繪畫空間范式論

論文中文摘要：當(dāng)代中國繪畫藝術(shù)正處在社會高速現(xiàn)代化和全球一體化的雙重歷史進(jìn)展進(jìn)程之中�，F(xiàn)代化必定帶來科技理性這一現(xiàn)代社會主導(dǎo)觀念對傳統(tǒng)藝術(shù)的不斷侵蝕,全球化語境下的交流更是加劇了傳統(tǒng)與現(xiàn)代、東方與西方的價值沖突,使中國繪畫藝術(shù)陷入了前所未有的邊緣化和迷惘境地:縱向上難以逾越傳統(tǒng)繪畫的歷史邏輯,橫向上難以沖破西方繪畫的現(xiàn)代觀念。這也成為擺在當(dāng)代中國藝術(shù)界面前的一個難以突破的前提性重大不足。中國繪畫革新的艱難在于既要擺脫“傳統(tǒng)”的桎梏,同時還要沖出“西化”的樊籠。本論文認(rèn)為,解決中國繪畫的不足,就需要對中西繪畫的藝術(shù)特質(zhì)及其歷史演進(jìn)有一個互為參照系的比較和理解,才能在全球化語境下尋找未來進(jìn)展的方向。由此,本論文將中西繪畫藝術(shù)的內(nèi)在價值觀念個性與外在空間體現(xiàn)特質(zhì)整合為中西繪畫空間的不同范式,力圖克服以往基于因果聯(lián)系的探討對中西繪畫藝術(shù)特質(zhì)整體性的割裂。通過比較探討中西繪畫“和而不同”的空間范式及其原因,探尋中國與西方繪畫的會通之路。本論文第一次將“范式”作為核心概念和學(xué)術(shù)視角引入繪畫藝術(shù)探討領(lǐng)域,并首次創(chuàng)造性地提出了西方繪畫的“覺象性”空間范式�；诶L畫空間范式,本論文系統(tǒng)性地提出和具體論證了以下基本觀點:繪畫是空間觀念的藝術(shù)化有著,而空間是以現(xiàn)實到抽象的觀念。中西繪畫空間體現(xiàn)的根本差別在于其范式,繪畫空間范式具有歷史和地域上的時空性。中國繪畫是“意象性”空間范式,以主體生命的心性意境為追求,具有“畫外空間”、“感性一元空間”和“動態(tài)空間”的范式特點;而西方繪畫是“覺象性”空間范式,以主客二元的知性反映為取向,具有“畫內(nèi)空間”、“理性二元空間”和“靜止空間”的范式特點。中國繪畫的意象性空間范式具有三種歷史形態(tài):傳統(tǒng)繪畫前期工筆的意象性空間范式、傳統(tǒng)繪畫后期寫意的意象性空間范式和現(xiàn)當(dāng)代繪畫多元的意象性空間范式;而西方繪畫的覺象性空間范式也具有三種歷史形態(tài):傳統(tǒng)繪畫具象的覺象性空間范式、現(xiàn)代繪畫抽象的覺象性空間范式和當(dāng)代繪畫多元的覺象性空間范式。最后,本論文基于中西繪畫空間范式的比較探討,試圖以中國相對于西方繪畫獨特的空間“范式”這一新的視角和標(biāo)準(zhǔn)反思“究竟何為中國畫”的長期論爭,嘗試性地提出了中國繪畫的實質(zhì)在于其“意象性”思維方式和價值追求,而不應(yīng)局限于其體現(xiàn)手段和工具。中國繪畫與西方繪畫的會通之路在于:在精神審美層面秉承和弘揚中國繪畫追求心性意境的審美取向,并在空間體現(xiàn)層面借鑒和融會西方知覺表象的多元方式和手段,以而推動中國繪畫在全球化語境下的“范式”革新,實現(xiàn)對傳統(tǒng)和西方的雙重超越。

【English Abstract】 Nowadays, the Chinese art of painting has been in a condition where the society is modernizing and globapzing rapidly. The opinion that modernization must bring technical rationapty has been eroding the traditional art. Also, the communications under the globapzing language environment have intensified the value confpct between tradition and modern; east and west. It has made Chinese art of painting into an unprecedented circumstance of peripherization and befuddlement: it is hard to exceed the historic logic of traditional painting and hard to break through the modern opinion of western painting. It also becomes a precondition issue that is put forward to the modern Chinese art circles.The difficulty of Chinese painting’s innovation is to get rid of the shackle of tradition, at the same time, get out of the cage of westernization. The author bepeves that to solve the problem of Chinese painting, we need to compare the specialty and history between Orient and West. Only if we understand it, can we find out the direction of the future development under this globapzing environment. So that in this essay, the author integrated the internal values of Chinese and Western painting and the exterior spatial expression into different paradigm of Chinese and Western painting to overcome the sppt which broke the globapty of Chinese and Western painting as what we used to do. Through the method of comparing the“unity without uniformity”, spatial paradigm between Chinese and Western painting and the reason of it to explore the common road of Chinese and Western painting under the condition of globapzation.It is the first time to use paradigm as the core concept and pterary view to be introduced to the painting field and also, the author creatively rise up the issue about the western painting’s“percepts”spatial paradigmTake painting space paradigm as the foundation, the author has developed and analyzed the idea that painting is the artistic being of the space idea, and space is the idea that has been dragged from reapty to abstract. The fundamental differences between Chinese and Western painting space is paradigm. Painting space paradigm has historic and geographic space-time nature.Chinese painting is“imagery”space paradigm. It pursues the disposition and artistic conception of subject of pfe. It has the paradigm characteristics such as“off-screen space”“perceptual unitary space”and“dy

  本文關(guān)鍵詞：中西繪畫空間范式論，由筆耕文化傳播整理發(fā)布。