本文選題：比亞茲萊 + 莎樂美�。� 參考：《四川美術(shù)學(xué)院》2017年碩士論文

【摘要】：比亞茲萊的藝術(shù)生涯雖然短暫,但卻是極賦影響力的。他很好的揉和了唯美主義的頹廢情緒和象征主義對于內(nèi)在認知的表達,并且采眾家之長,卻又不失自我,畫面總體充滿了對維多利亞舊時代舊道德的諷刺,也是對即將到來的新世紀(jì)現(xiàn)代性與先鋒性的完美演繹。特別是作為一位細膩敏感的畫家,同所有時代的藝術(shù)家一樣,賦予繪畫的魔力是無法一言以蔽之的,他那些飽含情感的線條和黑白的韻律所傳達的感染力確是難以言表的。比亞茲萊的藝術(shù)價值不止體現(xiàn)在外在線條的舒暢與唯美,他作品深沉的思想性與時代先鋒性,在當(dāng)時乃至現(xiàn)在看來都是卓越的。如同十九世紀(jì)末的藝術(shù)家們,他們借現(xiàn)代主義之“醉”,用超越自然主義和現(xiàn)實主義理性的方式,把藝術(shù)演繹為迷醉的、頹廢的、幻想的、色情的且挑釁的游戲。而象征、唯美、以及維也納分離等畫派,所組成的新的藝術(shù)運動也成為繼浪漫主義之后的新生力量,他們尋覓著浪漫主義的根,并找回了一條可供自述的藝術(shù)之路,它們同根同源,且相互取暖,為現(xiàn)代藝術(shù)大門的打開做出了無限的努力。比亞茲萊藝術(shù)價值正如魯迅在《比亞茲萊畫選》中對其作品深刻的評價:“有時候他的作品達到了純粹的美,但這是惡魔的美,而常有罪惡的自覺,罪惡首受美而變形又復(fù)被美所暴露�！倍葋喥澣R作品的承載者,就是他形式美背后的那些丑化了的人物形象,小丑、中性人、潘神、贏弱的男人,當(dāng)然,最多的就是女人和女性的身體。筆者希望通過比亞茲萊與王爾德珠聯(lián)璧合之經(jīng)典作品《莎樂美》來一斑窺豹,試探比亞茲萊唯美背后的現(xiàn)代性價值。對《莎樂美》的節(jié)選與解讀中,吻所帶來的瞬間快感,是引起非道德的審美體驗的形式美感,是屬于唯美主義的純粹美范疇。而戀頭癖這一瘋狂舉動,使狂躁癥患者的變態(tài)愛戀變得極其具有侵略性。在死亡一章,唯美主義信仰酒神之“醉”,并抓緊了對短促人生的快感體驗,直至激情與縱欲后的精盡人亡,美因此走到了極致。七面紗之舞暗示了女性身體是永恒肉欲的象征,而女性的致命誘惑,在比亞茲萊的世界里是矛盾的主體,沖突在于俄狄浦斯情節(jié)和對權(quán)利女性的恐慌,在于舊道德對女性的要求與新興開放女性的矛盾。而最后的梳妝,是十九世紀(jì)末女性身體再次被觀看,并公然成為色情這一具有永久性的符號,同樣也暴露了比亞茲萊繪畫里的色情隱喻與暗示�，F(xiàn)代藝術(shù)的先鋒性之一就是對新的可能的接納,這包括對色情、隱喻、抽象、丑態(tài)、變態(tài),和時間性等,而這一切都使現(xiàn)代性向著更為自我和本能欲望邁進。同時比亞茲萊有這樣一個繪畫特點:無論是審美快感、女性身體還是色情暗喻等,都與女性有關(guān),而“女人”這個特殊的母題,成為比亞茲萊眾多圖繪對象里具有代表性的中心人物。一方面是文本的需要,存在于故事里的女主角,另一方面,可能是潛存于畫家內(nèi)心表達需要的某個橋梁,或某個介質(zhì),而其又恰巧迎合了他內(nèi)在的心理狀況,即對女性這個生物的模糊與判斷,渴求與排斥。所以,在比亞茲萊的繪畫作品中,他不惜丑化女性,使女性具有主宰與邪惡的雙重體驗。女性,或者是具有女性傾向的人物,也都成為比亞茲萊借助發(fā)揮其藝術(shù)價值的深刻載體。恰恰也正是借由“女性”這一題材,承載了比亞茲萊藝術(shù)現(xiàn)代性的諸多要素:審美的瞬間快感、女性的主體意識、愛與本我的探究、渴望而又恐懼的女性身體、象征的暗喻與趣味、怪誕與丑、還有抽象性的黑白繪畫語言。比亞茲萊為王爾德所做插圖《莎樂美》,是簡短的一套黑白圖繪作品,但更多的帶有諷刺和攻擊性,這是一種深刻的藝術(shù)性批判,借著世紀(jì)末的頹廢情調(diào)和家探尋新的藝術(shù)奧秘提供了有效途徑。于筆者而言,對比亞茲萊的研究,愿望在于最大程度的剖析藝術(shù)家作品是如何回應(yīng)時代要求,在多大程度上體現(xiàn)藝術(shù)史變革的意志,和其自身不可回避的先鋒性特質(zhì),這些才是筆者認為傳統(tǒng)意義上的比氏黑白世界的精神架構(gòu)。比亞茲萊藝術(shù)中的丑,也給予當(dāng)下藝術(shù)以啟示。筆者認為,當(dāng)代藝術(shù)的丑態(tài)相對于“丑”的藝術(shù),一方面缺少了對“丑”的態(tài)度,丑,并未準(zhǔn)確而有力地展現(xiàn)其對抗性;另一方面,當(dāng)代藝術(shù)表現(xiàn)出的消極與被動,努力闡釋“美”卻適得其反,多數(shù)沉淪為真正的丑與不堪入目。如果說這是藝術(shù)語言矯枉過程的一個階段,那當(dāng)代藝術(shù)是丑的。是因為比亞茲萊的丑,才影響著當(dāng)代社會美的砥礪前行。
[Abstract]:Although his artistic career is short, it is very influential. He is very good for the decadent mood of aestheticism and the expression of symbolism to inner cognition, and the length of the house, but not self. The picture is full of the irony of the old morality of the old age of Vitoria, and the new century coming. The perfect deduction of modernity and Avantgarde. Especially as a delicate and sensitive painter, like all artists of all ages, the magic of painting is indescribable, and the appeal of his emotional lines and black and white rhythms is indescribable. In the smooth and aesthetical lines of the lines, his deep thinking and the avantgarde of the times are remarkable at that time and even now. As the artists of the late nineteenth Century, they borrowed the modernism "drunken" to deduct art into intoxication, decadent, fantasy, and pornography in the way of surpassing naturalism and realism. And the game of provocative, and the symbol, the aestheticism, and the separation of the Vienna, the new art movement formed as a new force following the romanticism. They seek the roots of romanticism and find a way for the art of self retelling. They are homologous and warm each other for the opening of the gate of modern art. The value of the art of infinity is like Lu Xun's profound evaluation of his works in the selection of the painting of the bill: "sometimes his works reach pure beauty, but this is the beauty of the devil, and it is always guilty of evil consciousness, the first of evil is deformed and exposed to beauty." The ugly personage image, the clown, the neutral man, the pan God, the weak man, of course, the most is the woman and the woman's body. I hope to see the modern value behind the beauty of the aesthezi through the classic "Salome" and Wilde. In the interpretation, the instant pleasure brought by the kiss is the form beauty that causes the unethical aesthetic experience and the purely aesthetic category of aestheticism. The crazy behavior of the fetish makes the abnormal love of the manic patients extremely aggressive. In the chapter of death, the aestheticism believes in the "drunken" of the Dionysus and grasped the short people. The seven veil dance suggests that the female body is the symbol of eternal flesh, and the deadly temptation of women is the main body of contradiction in the world of the Oedipus. The conflict lies in the Oedipus Festival and the panic on the right women, and the old morality is to the women. In the end of the nineteenth Century, the woman's body was seen again, and the final dress was a permanent symbol of pornography. It also revealed the pornographic metaphor and hint in the painting of Bi. One of the pioneers of modern art was the acceptance of new possibilities, which included color. Love, metaphor, abstraction, ugliness, metamorphosis, and timeliness, all of which make modern sexuality a more self - and instinctive desire. The representative central figure in the drawing object. On the one hand, it is the need of the text, the heroine in the story, and on the other hand, it may be a bridge, or a medium that the painter expresses the needs of the painter, and it just caters to his inner psychological condition, that is, the vagueness and judgment of the woman, the desire and the rejection. So, in his paintings, he does not hesitate to vilify women and make women have a double experience of domination and evil. Women, or women with women's tendencies, have become a profound carrier of his artistic value. There are many elements of the generation: the instant pleasure of beauty, the subjective consciousness of women, the inquiry of love and the nature, the feminine body of desire and fear, the metaphor and interest, the grotesque and the ugliness, and the abstract black and white painting language. Ironical and offensive, this is a profound artistic critique which provides an effective way for the decadence of the century and the search for new art mysteries. In the case of the author, the desire to compare the study of ASLE is to the maximum analysis of how the works of the artist respond to the demands of the times and to what extent the changes in the art history are reflected. The will, and its own avant-garde characteristics, are the spiritual structure of the black and white world in the traditional sense. The ugliness in the art of the art is also enlighten to the present art. On the other hand, the negative and passive expression of the contemporary art is negative and passive, and the effort to interpret "beauty" is counterproductive. Most of them fall into real ugly and unpleasant. If this is a stage of the process of artistic language correction, the contemporary art is ugly. It is the ugliness of the Uzi, which affects the present age. The strength of the beauty of society goes forward.
【學(xué)位授予單位】：四川美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J205

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本文編號：1972668