本文選題：至上主義　切入點(diǎn)：道德經(jīng)　出處：《河北師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：本文通過解析至上主義風(fēng)格繪畫《黑色方塊》、《白上的白》、《紅色方塊》等代表作品同中國(guó)歷史上首部哲學(xué)著作《道德經(jīng)》中部分哲學(xué)或美學(xué)觀點(diǎn)，發(fā)掘中國(guó)傳統(tǒng)哲學(xué)思想與20世紀(jì)東歐前衛(wèi)藝術(shù)的一致性。本文從四個(gè)方面發(fā)現(xiàn)至上主義風(fēng)格繪畫同中國(guó)傳統(tǒng)哲學(xué)思想的一致性，從而對(duì)至上主義這個(gè)外來的藝術(shù)風(fēng)格及其藝術(shù)語(yǔ)言進(jìn)行中式的解析。 首先從形式上，至上主義的繪畫徹底拋棄了傳統(tǒng)繪畫的藝術(shù)語(yǔ)言，作品中只剩下最為簡(jiǎn)單的幾何圖形，簡(jiǎn)單到?jīng)]有空間感的正方形其實(shí)蘊(yùn)含著無窮無盡的形狀，長(zhǎng)方形是方形的衍伸，圓形是方形旋轉(zhuǎn)的結(jié)果，，十字架是方形縱向與橫向的交叉。這種寓意極致的形態(tài)和純粹的形式，同《道德經(jīng)》中“大方無隅……大象無形”表達(dá)的思想一致。這正體現(xiàn)了“道”的“有限”與“無限”、“有形”與“無形”的哲學(xué)思想，兩者都是在以有限的形式表達(dá)無限的存在，體現(xiàn)出了有限和無線的高度統(tǒng)一。其次從對(duì)待色彩的態(tài)度上，馬列維奇從初期的彩色（包含黑色）上升到更高層面的單純白色到最終的白色來體現(xiàn)色彩原始本性，以此代表馬列維奇追求純粹表達(dá)的思想�！兜赖陆�(jīng)》中的“五色令人目盲”思想表達(dá)老子將五顏六色的萬物都回歸到黑和白的境界，道家最終將色彩歸結(jié)到了“玄”色—黑色。兩者對(duì)色彩至純、至樸、至上的追求表現(xiàn)出了默契的一致性。再次從情感和感受上，馬列維奇通過黑色幾何形和白色表達(dá)了一個(gè)唯一的、純粹的目的，純粹、至高無上的藝術(shù)情感，讓繪畫藝術(shù)呈現(xiàn)出與眾不同、表現(xiàn)出純粹的情感至上�！兜赖陆�(jīng)》中“致虛極，守靜篤”所描述的是心靈達(dá)到空寧極致后回歸本真的最初情感，是在追尋世界的本源或本質(zhì)時(shí)，追求道的“博”、“大”時(shí)，產(chǎn)生的淡泊、深沉，空寂、執(zhí)著的感受。分別表達(dá)了情感的至上和感受的至上。最后從精神追求及理想社會(huì)上體現(xiàn)的一致性。精神追求上至上主義繪畫信仰自己的“神”，不是有形之神，而是無形之神，所表達(dá)的神就是至高無上的藝術(shù)。老子的精神追求是能夠排除一切私心雜念，保持虛、靜的心境，從而達(dá)到“獨(dú)與天地精神往來”的境界。至上主義和老子思想在精神上都將回歸本體、純粹的情感表達(dá)作為精神追求；在對(duì)理想社會(huì)的想象上，至上主義希望創(chuàng)造出一個(gè)被大眾理解、政府理解的一個(gè)純白、純粹的新世界。老子希望是“小國(guó)寡民”的理想社會(huì)。二者都表現(xiàn)出共同的對(duì)美好、自然、充滿光明的社會(huì)的向往。 通過如上對(duì)比分析可以發(fā)現(xiàn)《道德經(jīng)》同至上主義風(fēng)格繪畫都以簡(jiǎn)約但不簡(jiǎn)單的形式傳達(dá)著作者的深邃思想。當(dāng)我們重拾中國(guó)古典哲學(xué)中的“道”，深追其思想，竟然發(fā)現(xiàn)這部先秦著作與現(xiàn)代主義的訴求有諸多的相似之處。通過至上主義風(fēng)格繪畫同中國(guó)傳統(tǒng)哲學(xué)思想的一致性，從而對(duì)至上主義這個(gè)外來的藝術(shù)風(fēng)格及其藝術(shù)語(yǔ)言進(jìn)行中式的解析，讓讀者能夠更為深刻地理解至上主義的藝術(shù)風(fēng)格及其藝術(shù)語(yǔ)言，以期對(duì)至上主義研究者和愛好者們有些許啟迪。
[Abstract]:In this paper, by analyzing the supremacy of painting style black box < >, < < > white on white, red box and other representative works with China > history first < > in moral philosophy philosophical or aesthetic point of view, to explore the consistency of China traditional philosophy and avant-garde art in Eastern Europe in twentieth Century. The paper found that the consistency of supremacy the style of painting with Chinese traditional philosophy from four aspects, which are the analysis of the supremacy of the Chinese foreign artistic style and artistic language.
From the first form, the supremacy of painting completely abandoned the traditional painting language of art works, only the most simple geometry, simple to have no sense of space square actually contains inexhaustible shape is square, rectangular circular extension, is the result of the rotation of the square, square cross is vertical and horizontal the ultimate meaning of cross form and pure form, with "moral". No generous corner > in great form is beyond shape "expression of thought. This is reflected in the" road "and" limited "and" infinite ", philosophical thought of" visible "and" invisible ", both of which are expressed in the infinite in finite form, reflects the limited wireless and a high degree of unity. Secondly from the attitude towards color, Malevich from the early days of the color (including black) to rise to a higher level to the end of the white pure white To reflect the color of original nature, on behalf of Malevich's pursuit of pure expression of thought. The "moral" colors blind "expression of thought Lao Tzu everything back to will be riotous with colour black and white color of Taoism realm, will eventually come to the" mysterious "color - black. The color pure, to Portsmouth first, the pursuit of showing the consistency of tacit understanding. Again from emotions and feelings, Malevich expressed by black and white geometric form a unique, pure, pure, supreme art emotion, let the art of painting is out of the ordinary, showing pure emotion supreme moral" >. Empty, keep quiet Benedict described is the mind to achieve the original emotion after returning to the original air rather extreme, is in pursuit of the origin of the world and nature, the pursuit of the "Bo", "big", the indifferent, deep, empty Silence, persistent feelings. Feelings were expressed in first and feeling first. Consistency finally from the spirit of the pursuit of ideal society and reflect the spirit of the pursuit of supremacy. His painting belief of "God", not visible but intangible God, God, God is the expression of the highest art. Lao Tzu's spiritual pursuit is to eliminate all remain empty, the selfish ideas and personal considerations, the static state of mind, so as to achieve the independence and the spirit world, the realm of thought and supremacy. Lao Tzu in spirit will return to the body, the purely emotional expression as a spiritual pursuit of the ideal society; in the imagination, hoping to create a supremacy a common understanding, a white government understanding of the new world is pure. Lao Tzu hope is "ideal society. Two small territory and population" have shown for the common good, natural, bright social yearning.
Through the above comparative analysis can be found by the same moral supremacy > < painting style with simple but not simple form to convey the profound thinking of the author. When we regain China classical philosophy of "Tao", the deep thought, found the pre Qin works and modernism demands have many similarities through the supremacy of painting style with Chinese traditional philosophy of consistency, thus the analysis of the supremacy of the Chinese foreign artistic style and artistic language, so that readers can more deeply understand the artistic style and artistic language oriented, with a view to the supremacy of researchers and enthusiasts have some enlightenment.

【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J205

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